20th Century Photography

From of dust jacket: Fritz Honle. Niem, 194,3, Gruber Collection
Spine of dust jacket: Charlotte March. DoiVfPk Lwto wilh EOninpfa
"Iwen", 1966, Cruber Collection
Back of dust jacket: Man Ray. lips on Lips, 1930. Gruber Collection

Concept Reinhold MifJclbeck

Authors of texts about photographers:

Marianne Bieger-Thidemanrt (MBT), GeVard A. Coodrow

(CC), Lilian Haberer {LH), Reinhold Mifidbeck (RM),

Ute Prollochs [UP). Anke Solbrig [AS),

Thomas von Taschitzki [Tvl], Nina Zschocke (NZ)

Reproduction of (he images:

Rheinisches Bildarchiv, Cologne

© 2001 TASCHEN GmbH

Hohenzollernring53, D-50672 Koln

www.ta sch e n. com

© on the images rest with VG Bild-Kunst, Bonn,

the photographers, their agencies and estates

Editing and layout: Simone Philippi, Cologne

Design: Mark Thomson, London

English translation: Rolf Fricke. Phyllis Riefler-Bonham

Consultants: Andrew H. Eskind (George Eastman House)

Oscar Fricke (Russian Photohistory)

Printed in Italy
ISBN 3-8238-5867-6

20th Century
Photography
Museum Ludwig
Cologne

TASCHEN

ICOLM lONOON MADRID HFW YORK PARIS TOKYO

The Art of Photography

Marc Scheps

Photography, a igth-century scientific invention, has - like many other
technical innovations of that era - dramatically altered mankind's per-
ception and experience of the world, an effect that continues to this day.
The reproduction of a time-constrained reality by the immaterial me-
dium of light, the "freezing" of a visually observable scene, seemed
like a miracle, especially in its beginnings. It was, so to speak, the fulfill-
ment of an ancient desire of mankind to create an imaginary world that
would be as believable as the real world itself. This mirror image of the
real world, chemically recorded on paper, was created in a miracle box,
and the resulting pictures, memories of a past time-space situation,
formed a visual archive. For the first time, one could record the past not
just with written words or painted pictures. Now it could live on in the
form of exact images. One could believe in this past as if one had experi-
enced it personally. The photographic image evolved into a collective
memory.

At first, the capability of creative interpretation inherent in painted
pictures was challenged by the objective realism of the photographic
image. Photography appeared to be unaffected by reality. Photographers
celebrated the banality of daily life. They had the urge to create an over-
all record of our world, to assemble an endless collection of pictures
into a kind of mega-memory.

The painted picture, the result of a long creative and additive pro-
cess, could suddenly be replaced by a fast optical, mechanical and
chemical process. The photographic image did not initially constitute a
direct threat to painting. Its format was restricted by what the lens could
cover, the images were black-and-white, and it was dependent on illu-
mination. But even those who recognized the danger that photography
posed to painting were fascinated by this new medium and the huge po-
tential that it represented. The invention of photography was, after all,
the birth of a new language and as such it should, above all, make poss-
ible a new kind of visual communication. This language is not local-
ized, and the flood of photographic images knows no borders. Multiple
reproduction and dissemination of these pictures created a virtual real-
ity that has become part of our modern culture.

4 | Introduction

From this "lingua universalis" evolved an art language. Contingent
on and limited by its historical context, this language evolved within the
framework of the creative arts of the late igth century. Photographers
conformed to the aesthetics of their time and regarded photography
merely as an additional means for visually perceiving and recreating
reality. They experimented with this third eye with the intention of
thereby enhancing the art of painting.

At the beginning of this century, the awareness grew that the photo-
graphic image had achieved autonomy and that it had developed an
aesthetic of its own. This autonomy led to a new fertile relationship with
painting. Photographers and painters discovered the nearly unlimited
possibilities of producing art with this medium, and continued techno-
logical advances in this field provided unexpected new ways of doing so.
Even so, the history of photography as art evolved independently and
parallel to the history of painting. Fear of contact between the two was
great, disputes sometimes harsh, a reconciliation seemed hopeless.

Fortunately, a dialog did eventually evolve, and this is undoubtedly,
one of the most exciting chapters in the visual culture of our century. It
was not just a matter of recognizing photography as an art, but definit-
ively eliminating the borders between photography and the creative
arts.

In time, photography succeeded in gaining public acceptance. Major
artists made a name for themselves with their small black-and-white
pictures. Diverse styles expanded the scope. In the end, photography
became a significant component of our culture. Modern art meanwhile
had questioned its own means, and artists sought new ideas and new
means of expression, eager to experiment. Naturally, this also involved
photography. Artists like the Russian avant-gardists Alexander Rod-
chenko and El Lissitzky, the American dadaist and surrealist Man Ray or
the Hungarian constructivist Laszlo Moholy-Nagy have all created an
important body of work, thus becoming pioneers of a development that
to this day remains uncompleted. But these artists were to remain ex-
ceptions, and the general ranking of photography before the First World
War was relatively low. It was not accorded the decisive recognition as
"high art". Even the establishment of a Department of Photography at
the Museum of Modern Art in New York (which opened in 1929) was to
remain an exception, and there were hardly any significant collectors of
photographs.

Introduction | 5

The breakthrough finally occurred in the late fifties and early sixties.
The urban world, the media and advertising intrigued artists such as
Andy Warhol and Robert Rauschenberg, and photography became an in-
tegral part of their creative activities, an expansion of their art. Other
artists explored the specificity of the photographic image, like Gerhard
Richter, for instance, who regarded photography both as a filter of reality
and as an independent pictorial reality.

Photographers now felt more and more attracted by the world of ad-
vertising, fashion and the mundane, Horst P. Horst and Richard Avedon
being two examples. This resulted in a progressive elimination of media-
driven compartmentalization. At last photography achieved museum-
worthy status. In addition to the traditional art categories of painting,
sculpture, drawing and graphic design, now there was the additional
category of photography.

The photography collection at the Museum Ludwig evolved from an
art collection. When the photography collection became a separate en-
tity, this dialog was continued judiciously, with an open-minded attitude
towards any new trends. Even though it was only created mostly after
the museum was founded in 1976, today the collection nevertheless
contains about 9300 photographs. The present book of excerpts pre-
sents 860 works and profiles 278 photographers. This is the first time
that a selection drawn from the entire photography collection of the Mu-
seum Ludwig is being published for a broad public. Earlier publications
were scientific evaluations of sections of the museum's photography
holdings. On the occasion of the 20th anniversary of the museum, it
was decided to publish two volumes with the same format, one cover-
ing painting and sculpture, and the present one covering 20th century
photography. The decisive moment for the establishment of the Depart-
ment of Photography at the Museum Ludwig was the acquisition in 1977
of the famous L. Fritz Cruber collection. L. Fritz Gruber, a longtime
mentor, patron and friend of the museum, has been fostering photo-
graphy throughout his life. To this day, he is known and respected inter-
nationally for his knowledge and love of photography. His worldwide
contacts opened many doors, and his collection grew steadily. Parts of
his collection were gradually donated to the museum, most recently in
1993 and 1994. The Gruber Collection constitutes the core of the present
volume, both in terms of quantity as well as quality. With the help of
L. Fritz Gruber, the museum has also been able to acquire many other

6 I Introduction

collectors, and it constantly strives to enhance the collection further
with other means. Reinhold Mifselbeck, who has been running the De-
partment of Photography and Video since 1980, performs this task with
great dedication, expertise and empathy, in spite of the fact that the
means at our disposal are modest. The overall picture is impres-
sive. Nevertheless we are not resting on our laurels but are currently
busy planning visions for the collection for the coming years.

With the 1993 exhibition "Photography in Contemporary German
Art", we showcased a current development that has mostly taken place
in the Rhineland. It pointed to a future emphasis of the collection. With
the Richard Avedon Retrospective of 1994 we presented an important
photographer who addresses subjects that have fascinated various
other artists of his generation: fashion, media, art, politics, poverty, viol-
ence and death. At the same time, we experimented with a new kind of
photographic exhibition which without doubt will influence exhibitions
in the future. This and other exhibitions attest to the symbiosis of art-
istic media, to mutual stimulation and enhancement of all categories of
the creative arts.

With the 1995 exhibition "Celebrities' Celebrities", drawn from the
Gruber Collection, we wanted to demonstrate that the great photo-
graphers of our time should be equated with all other artists and that
the camera is no longer a mere technical aid for creating images that
are unforgettable and that have become an integral part of our "musee
imaginaire". The present volume is a testimony to the richness of the
photographic image, to the creativity of the artists who - with camera in
hand - are constantly taking us along on new voyages of discovery.
Their artistic experiences are an enrichment of our lives.

Introduction | 7

The Photography Collection at the Museum Ludwig in Cologne

Reinhold Mifielbeck

The Photography Collection at the Museum Ludwig is the very first col-
lection of photography at a museum of contemporary art in Germany,
and it was founded almost simultaneously with the museum itself. Ne-
gotiations for founding the Museum Ludwig were completed in 1976,
and the acquisition of the Gruber Collection took place barely a year
later. Even so, the museum's collection already contained some photo-
graphic works before that acquisition occurred, such as Journeyman by
August Sander, Studies for Holograms by Bruce Nauman and two pho-
tograms by Laszlo Moholy-Nagy. The Wallraf-Richartz-Museum had
thus recognized the significance of this medium, and in certain in-
stances it had also acquired individual photographic works. With the
Ludwig Collection came a number of major artistic works, such as Typo-
logy of half-timbered Houses by Bernd and Hilla Becher, Variable Piece
No. 48 by Douglas Huebler, Birth by Charles Simonds and Black Vase
Horizontal by jan Dibbets. While there was never an emphasis on pho-
tography in the Ludwig Collection, these works nevertheless signaled
the fact that a photographic collection as part of a museum of modern
art has other priorities than a photographic museum per se. The history
of photography has never been the guiding theme of the collection's in-
terest. Rather it is the medium of photography as a young field of art-
istic activity next to painting, sculpture, drawing and printmaking, and
as an older one when compared to video, performance or new media.
Nevertheless these beginnings can only be considered to be the first
hesitant steps of an emerging interest that later matured with the pur-
chase of 887 photographs and the endowment of 200 additional ones
from the Gruber Collection.

The Gruber Collection was an auspicious foundation for the mu-
seum's photography collection. This single acquisition encompassed an
overview of this century's artistic photography, ranging from ebbing Pic-
torialism, represented by photographs in the work of Heinrich Kiihn,
Alvin Langdon Coburn and Hugo Erfurth (made in the twentieth cen-
tury), through American and European Modernism, all the way into the
fifties and sixties. This included the most important big names in Amer-
ican straight photography, like Ansel Adams, Edward Weston, Arnold

History of the Collection

Newman, Walker Evans, Margaret Bourke-White and Dorothea Lange.
But photojournalism was also well represented, with images by Alfred
Eisenstaedt, Gordon Parks, Weegee, William Klein and W Eugene
Smith. Experimental trends were represented by the work of Laszlo
Moholy-Nagy, Man Ray, Herbert List, Philippe Halsman, Chargesheimer,
Heinz Hajek-Halke and Otto Steinert. Great names in fashion photo-
graphy were also included: Cecil Beaton, Richard Avedon, Irving Penn,
Horst P. Horst and George Hoyningen-Huene. With a collection of such
richness, the Photography Collection of the Museum Ludwig took its
place in the vanguard of the most significant photographic collections
in Germany, next to those of the Folkwang-Schule in Essen (since 1978
in the Museum Folkwang), the Museum for Arts and Crafts in Ham-
burg, the first German photographic museum, the Agfa-Foto-Historama
in Leverkusen (moved to Cologne in 1986), the photographic collection
of the City Museum of Munich (which became the Photographic Mu-
seum in 1980). While the last three institutions were photohistory-ori-
ented, and the collections in Essen and in Cologne concentrated on
contemporary art, the Museum Ludwig was the only one with a policy
of acquiring photographic works by creative artists in addition to fine
examples of artistic photography. New acquisitions of images by Ger
Dekkers, Peter Hutchinson, Jean Le Gac, Mac Adams and Michael
Snow emphatically confirm this policy.

In 1978, another significant selection of photographs arrived in
the form of a loan from the Ludwig Collection, consisting of 123 photo-
graphs by Alexander Rodchenko and two photograms by El Lissitzky.
It was the very first large collection of Russian photographs to be dis-
played in a German Art Museum. This well-received exhibition and its
accompanying publication sent an important signal. Various small ex-
hibitions were also selected from the Gruber Collection, such as "Por-
traits of Artists" (1977). "Artistic Photography" (1978) and "Reportage
Photography" (1979). During these early years, the collection was cared
for by Jeane von Oppenheim and Dr. Evelyn Weiss. In 1979, the entire
collection of 500 photographs of Cologne architecture by Werner Mantz
was acquired, and in the same year the collection was enriched by
approximately 2500 prints and their negatives, a part of the Charges-
heimer estate.

My task, when I took over the collection in 1980, was to create an
inventory of approximately 3000 photographs and to make them grad-

History of the Collection | 9

ually accessible to the public. It was during this period that Renate and
L. Fritz Cruber made it a custom, highly appreciated by us, to supple-
ment our exhibitions with loans from their collection and subsequently
to donate them to the museum. Such was the case with the exhibition
"Aspects of Portrait Photography" (1981) and "Glamour & Fashion"
(1983). Before then, however, the Mantz Collection had already been cur-
ated scientifically in 1982 and presented in an exhibition accompanied
by a catalog. This was followed in 1983 by the exhibition "Derek Bennett
- Portraits of Germans", which was donated to the collection in its en-
tirety. Then came an exhibition derived from Chargesheimer's estate,
which presented an overview of his work and which was also accompan-
ied by a catalog. The Derek Bennett and Chargesheimer exhibitions were
the first large traveling exhibitions that were sent on tour by the Photo-
graphy Collection of the museum.

On the occasion of photokina 1984 we presented a great overview
exhibition of the Gruber Collection with the subtitle "Photography of the
20th Century", which was again enhanced by donations. At that time,
we also published the first catalog of the entire holdings, with reproduc-
tions of the more than 1200 pictures that were currently in the collec-
tion. This was the first time that photography in a German photographic
collection was curated in the same manner as paintings, sculptures and
drawings. Every photograph was accompanied by all the technical data
and by specific literature references. The catalog became a reference
manual and since then has gone into its third edition. This exhibition,
too, went on tour and was displayed in Linz and in Manchester, among
other cities. It was the first photographic exhibition which, at the sug-
gestion of Professor Ludwig, was also displayed in East Germany, where
it was shown in the gallery of the College for Graphics and Book Art in
Leipzig.

The year 1985 was totally dedicated to the planning of the new build-
ing and to the move. Even so, it was possible to feature an exhibition of
the photographic work of Benjamin Katz, which provided an overview of
the set of more than 300 photographs acquired in 1982, which Benjamin
Katz had compiled during the course of planning, setting up and dis-
playing the exhibition "Art of the West". There was also an exhibition of
architectural photography by Werner Mantz, Hugo Schmolz and Karl
Hugo Schmolz, which offered an interesting insight into the work of the
three most important architectural photographers in Cologne. Here too,

to J History of the Collection

a selection of the best photographs by the Schmolz father and son team
were contributed to the collection. Renate and L. Fritz Gruber graciously
joined forces with the photography collection of the museum to pre-
pare an exhibition entitled "Photographers Photograph Photographers",
which was displayed at the Musee Reattu during the "International
Photography Meeting" in Aries. This fascinating exhibition, too, was
donated to the museum and, together with the Benjamin Katz collec-
tion, formed the basis for the collection's emphasis today on artists'
portraits.

On the occasion of the inauguration of the new building, the pho-
tography collection presented an expanded, revised and clarified second
edition of the catalog of the holdings of the Gruber Collection, along
with a similarly designed catalog of all the works that had been acquired
by the Museum Ludwig during the past years. For a brief time, the
Photography Collection of the Museum Ludwig could claim that it had
presented to the public its complete holdings at that time - 5000 pic-
tures, fully illustrated. Only Chargesheimer was presented merely in the
form of a selection. This also attests to the extraordinary quality of the
photography collection of the museum, because it is certainly not just
the great amount of work nor the necessary financial investment that
prevents photography collections from publishing truly complete and
fully illustrated catalogs of their holdings - it is mostly the fact that too
much would be revealed that does not enhance the respective mu-
seum's fame.

The second general catalog of the photography collection covered
significant expansions in the field of artistic photographs, such as
the two albums contributed by Dr. Oppenhoff, with photographs by
Johannes Theodor Baargeld, works by Colette, Ger Dekkers, Roger
Cutforth, Bernd and Hilla Becher, Jan Dibbets, Braco Dimitrievic, Joe
Gantz, Peter Gilles, David Hockney, Douglas Huebler, Peter Hutchinson,
Birgit Kahle, Jurgen Klauke, Les Krims, Astrid Klein, El Lissitzki, Marina
Makowski, Gordon Matta Clark, Antoni Mikolajczik, Bruce Nauman,
Ulrike Rosenbach, Charles Simonds, Michael Snow, Ulrich Tillmann,
Andy Warhol and Dorothee von Windheim. Other significant groups of
photographs were later added to this, such as the donation by Jeane von
Oppenheim of n vintage photographs by Lewis Hine, 30 prints by Erwin
von Dessauer, and photographs by Gertrude Fehr, Robert Hausser, Fritz
Henle, Walde Huth, Arno Jansen, Benjamin Katz, Erika Kiffl, Manfred

History of the Collection | n

Leve, Bernd Lohse, Gabriele and Helmut Nothhelfer, and also Hugo and
Karl Hugo Schmolz. But it was not long before the next donation came
along. On the occasion of the inauguration, Renate and L. Fritz Gruber
filled a room with photographs by Albert Renger-Patsch, Chargesheimer
and Man Ray, imparting a photographic accent to the opening festivit-
ies, and to which they gave the title of "Pictures of Stillness". Displayed
in that room were photographs of machines by Albert Renger-Patsch, a
series on Basalt by Chargesheimer and The Milky Way by Man Ray, a to-
tal of 39 photographs. Only a year later, a new exhibition "German Pic-
torialists" provided an overview of the work of the older generation of
German photographers. That exhibition too, was acquired nearly in its
entirety over the years that followed, filling gaps in the museum's hold-
ings of photographs taken from the forties to the sixties with works by
Use Bing, Walter Boje, Rosemarie Clausen, Gertrude Fehr, Hanns Hub-
mann, Kurt Julius, Peter Keetmann, Fritz Kempe, Edith Lechtape, Willi
Moegle, Regina Relang, Toni Schneiders, Anton Stankowski, Pan Walther
and Willi Otto Zielke. Others, like Hermann Claasen, Tim Gidal, Robert
Hausser, Fritz Henle, Martha Hoepffner, Bernd Lohse, Hilmar Pabel,
Karl Hugo Schmolz, Wolf Strache and Carl Striiwe were present in the
collection with only a few examples of their work, but since that time
have been represented much more adequately. Chargesheimer's 6oth
birthday provided an occasion for the museum to present the results of
additional research work. The show, entitled "Chargesheimer in Per-
son", was dedicated to Chargesheimer's persona, featuring statements
from family and friends, school buddies and colleagues from artistic
circles. A portfolio of some of his well-known works was issued, and the
second half of his estate, containing his meditation musings and gelatin
silver paintings, which had been rejected by the trustees in 1979, was
acquired. This provided the foundation for an even more intensive study
of the work of this artist, which became the subject of more and more
scientific research projects at the Art History Institute of the University
of Cologne. The results of these projects, which mostly examined the re-
lationship between his photography of ruins and his gelatin silver paint-
ings, were presented in 1994 in tr) e exhibition entitled "Chargesheimer -
Chaos Form Archform".

The 80th birthday of L. Fritz Gruber became a celebration that was
further enhanced by a publication coupled with an exhibition entitled
"L Fritz Gruber- Highlights and Shadows". In the accompanying

12 I History of the Collection

catalog, L. Fritz Gruber reviewed his encounters with some of the great
photographers of his time. The entire exhibition was later donated to
the Museum Ludwig.

In the years that followed, more and more attention was paid to
Eastern Europe. Contacts with Leipzig culminated with the transfer of a
collection of photographs from the former German Democratic Repub-
lic to Cologne. Numerous photographs were contributed after the first
overview exhibition of contemporary photography in the former Czecho-
slovakia in 1990. The exhibition of Czech and Slovak photography trav-
elled to 15 locations in Europe and in America, thus becoming the most
successful traveling show of the museum's photography collection.

Soon another estate, the work of Heinz Held, was donated to the
museum, almost immediately being presented to the public. Heinz
Held had much the same interests as Chargesheimer, of whom Held
was a contemporary. He was interested in everyday life, in the banal, in
the hard-to-describe, so that he became an interesting counterpoint to
the more artistically oriented Chargesheimer. These two photographic
legacies provided the Museum Ludwig with the very unusual oppor-
tunity of studying two diverse photojournalistic approaches to the same
subject.

The retrospective exhibition of fashion photographs by Horst P.
Horst in cooperation with Vogue was not only a glittering social event,
but it had a splendid conclusion with the donation of 40 photographs
by this great German-American fashion photographer.

In 1991, years of discussions about an archive of 1500 negatives
and 1000 vintage prints by Albert Renger-Patzsch reached an auspicious
climax when the Schubert & Saltzer company of Ingolstadt transferred
this work to the Museum Ludwig as a permanent loan. The City Museum
received the largest selection from the existing duplicates, and the
Museum Ludwig received 800 photographs as a donation. By trading
additional donated duplicate prints, the museum was able to acquire,
among others, landscape and architectural photographs by Albert
Renger-Patzsch. After the completion of the research, with which the
Photography Section once again lived up to its scientific mission by
supporting a dissertation, a new chapter was added to the biography
of Albert Renger-Patzsch. After the war ended, Renger-Patzsch photo-
graphed not just rocks and trees in Wamel as hitherto assumed, but
over a period of 20 years he also completed his most ambitious indus-

History of the Collection 1 13

trial assignment ever. The exhibition and the catalog "Albert Renger-
Patzsch - His Late Industrial Work" was opened at the Museum Ludwig
in 1993 and later became a traveling exhibition.

The core category of portraits of artists also received a significant
boost during that year, when the City of Bocholt contributed 50 portraits
by Fritz Pitz. The latter spent many years as a photographer for the Ga-
lerie de France making portraits of artists in the French-Belgian-Dutch
language region. A one-man exhibition of his work was created on the
occasion of this donation. This acquisition included an experimental
work that is of very special interest to the museum, because Fritz Pitz is
only the second photographer other than Chargesheimer who was al-
ready creating large format 150 x 100 cm photochemical paintings in the
early sixties.

In 1992, the couple Irene and Peter Ludwig augmented the mu-
seum's collection with the loan of a group of 65 works by Russian pho-
tographers. These works complemented the photographs by Alexander
Rodchenko that were already on hand and expanded the museum's
holdings of Russian constructivist art with outstanding photographic ex-
amples of that style.

Gaps in the photography collection were filled not only by donated
groups of images, but also by the acquisition of individual works like
those of Anna and Bernhard Johannes Blume, Rudolf Bonvie, early
photographs by Jiirgen Klauke, works by Gina Lee Felber, Gottfried
Helnwein, Marina Makowski, Harald Fuchs, Annette Frick, A. T. Schaefer,
Krimhild Becker, Piotr Jaros, loaned works from the Ludwig collection
and installations by jenny Holzer and Christian Boltanski. For practical
reasons however, installations had to be assigned to the sculpture de-
partment.

The 85th birthday of L. Fritz Gruber once again was celebrated by
Mr and Mrs Gruber with a generous addition to the museum's photo-
graphy collection. Still more gaps were filled by gifts of more than 700
photographs during the years 1993 and 1994, which included works by,
among others, Alfred Stieglitz, Alvin Langdon Coburn, Edward Steichen,
Man Ray, Hugo Erfurth, Hermann Claasen, David "Chim" Seymour,
Robert Capa, Franco Fontana. Rolf Winquist, Philippe Halsman, Ernst
Haas, Andreas Feininger, Karin Szekessy, Gottfried Helnwein, Jurgen
Klauke, Ulrich Tillmann and Bettina Gruber.

The Gruber Collection, which continues to be the heart of the mu-

14 I History of the Collection

seum's photography collection, was once again presented to the public
in 1995 in the form of an exhibition entitled "Celebrities' Celebrities",
which featured selected portraits of famous personalities made by the
best photographers of this century.

A new category, that of nude photography, was added to the subject
of artists' portraits in 1995, when Uwe Scheid bestowed a collection upon
the museum. In 1991, the Museum Ludwig had displayed an exhibition
of photographs from the Uwe Scheid Collection entitled "Picture Lust",
which was specially enhanced with images from current work in this
field. With the donation of photographs made during the period ranging
from the sixties to the nineties and totaling more than 200 images,
the museum's photography collection was enriched by additions of
major significance: works by Jean Dieuzaide, Lucien Clergue, Joel Peter
Witkin, Bettina Rheims, Robert Heinecken, Curt Stenvert, Diana Blok,
Toto Frima, Mario Broekmans, Andre Gelpke. But the works of earlier
photographers such as Wilhelm von Gloeden, Vincenco Galdi, and
Franz Roh were also welcome additions. All of this is likely to have made
the collection of this topic at the Museum Ludwig the most substantial
one in all of Germany. Altogether, not counting the bequest of Heinz
Held, the holdings of the photography collection at the Museum Ludwig
today cover more than 9300 photographs. The donation by Uwe Scheid
gains added significance in light of the fact that the museums of
Cologne, which cannot benefit from the financial and political back-
ground of state-owned collections, strive to cultivate their 150-year-old
tradition of close relations with an art-interested public, with collectors
and patrons, whose circles they seek to expand. This is where donations
such as that by Uwe Scheid can encourage others to seek a dialog with
the Photography Collection at the Museum Ludwig and to enhance its
stature.

History of the Collection 1 15

Adams, Ansel

1902 San Francisco

1984 Car me I,
California

a Ansel Adams
Sierra Nevada, 1944

Gelatin silver print

ML/F 1977/24

Gruber Collection

Ansel Adams made his first photographs during a 1916 vacation trip to
Yosemite National Park in California. Even then he exhibited the first
manifestations of what was to become characteristic of his entire work;
a combination of superb photographic skill and a deep admiration for
the American landscape.

Adams originally wanted to become a pianist. It was only after an
encounter with Paul Strand in 1930 that he discovered that photography
was his true medium of expression. Strand's concept of pure photo-
graphy made a lasting impression on Adams and motivated him to cla-
rify his own intentions. In 1932 he joined photographers Imogen Cun-
ningham, John Paul Edwards, Sonya Noskoviak, Henry Swift, Willard
van Dyke and Edward Weston to found the group "f/64". Members of
this group dogmatically practiced a style of photography that emphas-
ized the greatest possible depth of field and the sharpest reproduction
of details. Fascinated by the precise rendition capabilities of their me-
dium, the photographers particularly favored close-ups of individual
subjects. Adams' photograph Rose on Driftwood is an example of this
tradition.

16 J Adams, A.

a Ansel Adams

Zabnskic Poim, Desih Valley National

Monument, California, 1948

Gelolin vlwrprim. i>j.g x rp cm
ML/F 1977/J0

Cmber Collection

Adams, A. 1 17

■"• Ansel Adams
Rose on Driftwood,

1933

Gelatin silver print
19.5 * 24. 1 an
ML/F 1977/21

Gruber Collection

< Ansel Adams
Boards and Thistles.

around 1932

Gelatin silver print
23.1x16,8 alt
ML/F 1988/tf

C.f uber Donation

18 I Adams, A.

It was in 1941 that Adams created his famous "Zone System", an aid
for determining correct exposure and development times for achieving
an optimal gradation of gray values. Adams disseminated his photo-
graphic ideas and procedures through numerous books and seminars.
In 1946 he founded the Department of Photography at the California
School of Fine Art in San Francisco. In 1962 he retired to Carmel High-
lands.

Adams spent a considerable part of his life as a landscape photo-
grapher in America's National Parks, about which he published more
than 24 photographic books. During that time, he not only practiced his
photography, but he also used his work to generate public interest in the
parks, which he supported. He was also instrumental in the creation of
new parks. MBT

A Ansel Adams

Canyon de Chelly
National Monument,
Arizona. 1943

Gelatin silver print
37-8 x 47.4 cm
ML/F 1977/26

Gruber Collection

Adams, A. | ig

Adams, Mac

1943 Wales
Lives in Nc«.' York

Photographer Mac Adams, born in Wales in 1943, studied at the Cardiff
College of Art from 1961 to 1966 and spent a year at the University of
Wales. Later on he moved to New York, where he completed his studies
at Rutgers University in 1969. Whereas his early work was very much in
the English photographic tradition of the sixties, his Mystery Environ-
ments are characteristic of his work of the seventies. His preferred sub-
jects are interiors, fictional situations such as Port. Authority (Mystery
No- 12), which hint at a possible crime. Adams found inspiration for his
main subjects in elements of murder mysteries. In The Toaster, the shiny
metal of this kitchen appliance reflects a woman who, in the second
photograph, is already lying on the floor. The toast is burned. This not
only suggests a time sequence; the photograph itself also combines ob-
jects into a mysterious incident. Adams 1 conceptual "Narrative Art" also

includes color photographs and sculptures, whose subjects - an open
cupboard, a revolver and a rope - are combined to produce a symbolic
charge. In his photographs Port Authority (Mystery No. 12) of 1975,
Adams used the play of light and shadows to stage people in motion,
making the viewer perceive elements of ambiguity. He is less interested
in the secret than in the manner the information is conveyed by the ob-
jects perceived. He personally characterizes his work as being some-
where between Agatha Christie and Anthony Caro.

Adams has been represented in a number of international exhibi-
tions, such as "documenta VI" in Kassel in 1977, and in Croningen in
1979. The photographer lives and works in New York. LH

20 I Adams, M.

•* Mac Adams

Port Authority
(Mystery No. 12),

1975

Olefin silver prim
each 85. 5* 77.5 cm
ML/F 1979/13521-11

Adams, M. | 2)

Arnold, Eve

igij Philadelphia

Lives in London

A Eve Arnold
Marilyn Monroe.
^955

Gelatin silver prim
tG.2 x jj..f cm
ML/F I977/B4

Gtuber Collection

Eve Arnold is one of the earliest "Magnum" photographers. From 1947
to 1948 she studied photography under Aiexey Brodovitch at the New
School for Social Research in New York. In 1951 she joined "Magnum"
and became the first woman to take pictures for that agency. She moved
to London in 1961 and spent the years that followed as a photojournalist
traveling through the former Soviet Union, Afghanistan, Egypt, and
China. During the fifties. Eve Arnold created several photographic es-
says about women from the most diverse levels of society, of whom she
wanted to present a realistic, "unretouched" image. It was in this con-
text that she also produced the picture series about Marlene Dietrich
and Marilyn Monroe, from which came the illustrations shown here.
When Eve Arnold was present at a recording session with Marlene
Dietrich in 1954, she was not interested in a conventional, idealized
star portrait. During a production pause, she succeeded in capturing a
picture of the actress in a pensive, introspective mood, who even then
knew instinctively how to stage her body. In a similar, apparently unob-
served moment in 1955, Eve Arnold photographed Marilyn Monroe in
Illinois. The actress was exhausted and had stretched out on the bed
in the hotel, resting her tired feet on the railing of the bed. When Miss
Monroe worried whether the pictures that had just been taken would
turn out suitably glamorous, the photographer replied: "No... not
glamorous - interesting maybe, but not glamorous." MBT

*■ Eve Arnold

Marlene Dietrich,

1954

Gelatin sitvtt print

J1.6 x 75.5 on

ML/F 1977/35

Gryber Collection

22 1 Arnold

Arnold | 23

Atget, Eugene

1857 Libourne near

Bordeaux

1927 Paris

»■ Eugene Atget
Corsets, Boulevard
de Strasbourg, Paris,
around 1905

Gelatin silver print
23.3 x \j.2cm

ML/F 3 977/9

C ruber Collection

*' Eugene Atget
Versailles, Vase in
Castle Park,
around 1900

Albumtii print
?i,6»iS.7r;m
ML/F 197/; 14

C ruber Collection

Eugene Atget studied at the Conservatoire d'Art Dramatique in Paris,
but he left that school without taking his exams. He went on to act in
theaters in the suburbs of Paris, where he met the actress Valentine
Delafosse, who was to become his life companion. He had already
bought himself a camera in those years and was using it. In 1898, noti-
cing that there was a great demand for photographs of the old Paris,
Atget took up photography as a profession. He established a system of
working and built up a solid circle of collectors. He initially concentrated
on Paris, photographing old buildings, street vendors, architectural de-
tails, but especially buildings that were threatened with demolition. In
later years, he began to cover the suburbs. As soon as some topics were
completed, new ones were started, such as Parisian Residences, Horse
Carriages in Paris and Fortifications, which he initiated between 1910 and
1912. Preoccupied with the safe preservation of his collection. Atget
offered it to the Ecole des Beaux Arts in 1920 and received 10,000
francs for his 2621 plates. He then began to produce photographs to
serve as subjects for painters, and this took him to the furthest outskirts

of Paris, in 1921 he made por-
traits of a number of prostitutes
in the Rue Asselin for the painter
Andre Dignimont.

Atget refused to take pictures
with any camera other than his
old wooden 18 x 24 cm camera.
He felt that the Rolleiflex Man Ray
had offered him worked faster
than he could think. He therefore
continued to travel with a lot of
luggage. When his life companion
died, he began a pause in his
work. Shortly after he made a
portrait of Berenice Abbott in her
studio, Atget passed away on the
4th of August of 1927. Berenice
Abbott, who had acquired the
main portion of his estate in 1928,
began to evaluate and to publish
his work. She arranged for Atget's

24 I Atget

Atget J 25

^ Eugene Atget
Prostitute, 5921

Gelatin silver print
33.1 x 17.4 cm
ML/F1977/1
Cruber Collection

► Eugene Atget
Organ Player and
Singing Girl, 1898

Gelatin silver print
71.Sn 16.5 cm
ML/F 1977/3
Gruber Collection

work to be exhibited, and in 1930 together with gallery owner Julien Levy
initiated the first publication of his photographs, which led to interna-
tional recognition of Atget's work. RM

26 I Atget

Atget I 27

Avedon,
Richard

1 92 J New York
Lives in New York

► Richard Avedon
Dovima with Elephants
Evening Dress by Dior,
Cirque d'hiver, Paris.
August 1955

Gelatin silver prim
!.f.2X 19.4 em
ML/F 1977/39
C ruber Collection

28 I Avedon

Richard Avedon studied philosophy at Columbia University in New York
City before he became a self-taught photographer. In 1944 he met Alexey
Brodovirch, the legendary art director of Harper's Bazaar, with whom he
worked for many years to come. He attracted a great deal of attention
with his book Observations, which was published in 1959- Brodovitch did
the layout and Truman Capote wrote the text. The book contained
mostly portraits of famous personalities and a few fashion pictures.
" Have mercy on me", said Henry Kissinger when he was about to have
his portrait taken by Avedon. The starkness of his portraits on a white
background that brought the very souls of people to the surface was
what First caught the attention of the public and the trade.

Avedon achieved extensive publicity with his fashion photographs,
in which he expressed his visions of a lively, lifelike world of pictures. He
stopped making photographs in his studio and took his models to the
streets of Paris, into the cafes and shows. His photograph Dovima with
Elephants, Evening Dress by Dior, Cirque d'hiver, Paris 1955 is Avedon's
best known photograph and certainly one of his most unusual ones. It
thrives on contrast and yet it is simultaneously an expression of indes-
cribable elegance. This picture marks the beginning of a new era in
staged photography. Avedon's fashion photographs, which steadily di-
minished over the years, and which during the seventies became similar
to his portraits, became the standard for an entire generation of photo-
graphers.

Not much later he shocked his audience with a series about the
slow death of his father Jacob Israel Avedon, In that series he also docu-
mented his own relationship with his father, elicited mimicry and ex-
pressions from him that he remembered from his youth and which
characterized his image of a father figure. But it is also a powerful series
about the gradual deterioration of a strong personality and its with-
drawal into itself.

With his book In the American West, Avedon wanted to expose the
myth of the American West, to break up the romanticized world of idyllic
cowboys and show another side of that world: day workers and miners,
the unemployed and minor public servants, whites, blacks, South Amer-
icans. His disenchanting version of the American West caused anger
and was perceived as being destructive.

Next he produced a series about the Louisiana State Hospital, a
grainy sequence of pictures of mentally disturbed patients, followed by a

Avedon I 29,

k Richard Avedon
Charles Chaplin,
acior. New York City,
September 13, 1952

Celatin iiivc print

ML/F '977/42
Cruber Collt-c'.n>»

bitter statement against war in the form of a photo essay about victims
of napalm in Vietnam. They were his only pictures that showed violence.
Avedon was always averse to that subject, because he believed that pic-
tures of violence only bred more violence,

His large format photographic canvasses became a new milestone
in the history of photography. Among others, he created portraits of
members of the "Warhol Factory", the "Chicago Seven"' the "Ginsberg
Family", and the "Mission Council".

His The Generals of the Daughters of the American Revolution, 1963,
commands a special place among his portraits. With this photograph,
Avedon created a group picture with strikingly unconventional com-
position. Apparently taken during preparations for an official portrait, it
is intriguing because of its unusual arrangement and the variety of rela-
tionships between the women, who nevertheless remain isolated. The
portrait of Charlie Chaplin is equally unconventional, because it sug-

gests a devil. It was created at Chaplin's own request, to express his
anger when he had to leave the United States because of his political
beliefs. The portrait of the introspective, seemingly painfully concen-
trating Ezra Pound is the main picture in a series in which that author
exposes the full breadth of his emotions and feelings as well as their
mimic expression for the camera to record.

On the occasion of the fall of the Berlin Wall, Avedon photographed
the jubilant crowd during New Year's Eve 1989. The mood of the pic-
tures of the Brandenburg Gate series ranges ali the way from boundless

*■ Richard Avedon
Ezra Pound, pad,
Rf'hpFfor<r, New Jer-
sey, June jo, iq^g

Gelatin saw pr j nt

ML /F 1977/44
Gruber Collection

30 I Avedon

Avedon | 31

* Richard Avedon
Marian Anderson,

contralto. New fork
Oty, Juriejo, «9S5

Gelatin silver print
S$.j x 49.6 cm
ML/F ig.77/43

Grubor Collection

»• Richard Avedon
BrigitleBardot, Hair
(w AlcMandrc. Paris
Studio, lanuary 1 9S9

Gelatin silver prim
]2. 9x25.4 em
ML/F 1977/45

Cruber Collection

joy to expressions of fear of the future. Instead of documenting what he
saw Avedon made a small selection of symbolic constellates, which
culminate in the reduced outline of a bald head against the night sky.
Most recently he has made photographs of the Italian nobility, for
which he made use, for the first time, of the possibilities of picture col-
lages. The fact that he once practiced photojournalism only came to
light again on the occasion of his retrospective show in 1994-
= Avedon is considered to be one of the best living photographers. In
New York City alone, he can look back on exhibitions in the Museum of
Modern Art, the Metropolitan Museum and the Whitney Museum of
American Art. The Museum Ludwig in Cologne displayed a large retro-
spective of his work and his fashion photographs in 1994. In whatever
genre he was working, he has always succeeded in applying his own
striking approach. RM

Avedon | 33

32 I Avedon

\^^0" "-'^"y

»

|

M*s

V i*

V'

~LU*

Alfred Emanuel Ferdinand Griinwald was born in Stettin on the 9th of
October 1892. After studying law and political science at Oxford and in
Berlin, he was drafted into military service from 1914 to 1918- Upon his
return, he wrote articles for the magazine Aktion and became involved
With the USPD. In addition to his connections with the "Cologne Pro-
gressives", he befriended Max Ernst and Hans Arp, with whom he
founded the Cologne Dada Group. He called hirmelfTheodor Baargeld,
sometimes also Zentrodada or Jesaias. With this Cologne group of
artists he published the magazine Der Ventilator, and later on the Bul-
letin D. After participating in the exhibition "Early Dada Spring" in
Cologne and the "International Dada Fair" in Berlin, Baargeld returned
to his studies. Upon graduation he joined a Cologne Reinsurance Com-
pany. His albums of mountain photographs contain many of his se-
quence arrangements. Baargeld succumbed to an accident in the French
Alps on the 18th of August 1927. RM

Baargeld, Johan-
nes Theodor

{Alfred Emanuel
Ferdinand Grunwald}

-.892 SteUin, Poland
1917 French Alps

-4 & Johannes

Theodor Baargeld
Mountain Photo-
graphs, 1925

Gelatin silver print
& * S-5 cm and
5.7 x8.i\ cm
ML/F 1985/29
and 30

Or, OppenhoFF
Donation

34 I Baargeld

Baargeld | 35

Banka, Pavel

1341 Prague
Lives In Prague

■4 Pavel Banka

p. M'eha Bar-Am

Untitled. 1984

Collaborators.

Gelalin silver print

Samaria, West Bunk,

37.jKi5.Scm

»g67

ML/1 1395/118

Celalin silver print

Uwe Scheid

34.3 x31cm

Donation

ML/F 1995/98

Pavel Banka studied at the Faculty for Electrical Technology in Prague. In

1976 he began working as a freelance photographer. He Favored por-
traits, but concentrated primarily on staged photography, which already
earned him recognition beyond the borders of the Czech Republic in the
eighties.

On one hand, his staged sets are based on the concept of the photo
performance, which he developed beyond the original work of Frantisek
Drtikol. On the other hand, he injects surreal aspects into his scene de-
signs, he alters size relationships, arranges bodies in the manner of still
lifes. Eroticism is present in his pictures only to a very understated ex-
tent. Banka maintains a disciplined formality and simplicity in his com-
positions, avoiding any distractions or descriptive variations. Instead,
he concentrates on a few metaphors, with which he transposes his mys-
tical visions into photographs. RM

As a result of his parents' emigration, Micha Bar-Am spent the years
1936 to 1947 growing up in Haifa. In 1944 he worked on the waterfront,
dreaming of becoming a seaman. From 194S to 1949 he fought for the
resistance movement as a member of the Palmach Unit. In 1949 he be-
came a co-founder of the Mafkya Kibbutz in North Galilee. He moved to
the Cesher-Haziv Kibbutz in 1953, where he initially worked as a black-
smith, but where he also began to take pictures with a borrowed cam-
era. During the Sinai War of 1956 he photographed the desert and the
war, and he was able to purchase his first Leica. From 1957 to 1966 he
worked for the Israeli army magazine Bahmahane. In 1961 the govern-
ment gave him the assignment of photographing the Eichmann trial.
He has been active as a freelance photographer since 1966. In 1967 he
met Cornell Capa, with whom he photographed the Six Day War. After
that, he became a member of "Magnum" and since then he has been
working for the New York Times. In 1973 he became the curator of pho-
tography at the newly founded Photography Department of the Tel Aviv
Museum. Today he is once again working exclusively as a freelance
photographer. RM

Bar- Am, Micha

1930 Berlin
Lives 111 II Ramai
Can, Israel

36 I Banka

Bar- Am | 37

*■ Micha Bar-Am

Prisoners ofW3r,

Golan Heights, 1970

Gelatin silver print
34.2 x ji.i cm
ML/F 1995/99

► Micha Bar-Am
Return From
Entebbe, Ben Gurion
Airport, 1976

CeJflfi'ri siifar print
34.3/34,1 an

Ml./F 1995/100

38 I Bar-Am

Mercedes Barros studied photography at the New England School of
Photography and at the School of Visual Arts in New York City. Today
she lives in Cologne, Germany.

Mercedes shows nature in her pictures as part of herself, and she
regards it as endangered. The techniques she applies in creating her
pictures, in part by solarizatron, in part by the use of chemicals, imparts
the same surface of morbid decay to all her photographic work. Man-
Kind and its civilization is connected to nature through this connecting
element of the dissolution of appearances, which it surrenders to
destruction. The clouds of Chernobyl, which she acknowledged with a
sinister picture in 1988, seem to hover over everything.

Treating the surfaces of her photographic images is a way for Mer-
cedes Barros to execute painterly concepts without having to paint in
'he classical sense. This technique enables her to make use of existing
photographic prints and to work on the image of an object instead of
le object itself, so as to present the relationship of different things by
means of a picture. RM

Barros,
Mercedes

1957 Rio de Janeiro
Lives in Cologne

a Mercedes Barros
Chernobyl, 1988

Gelatin silver print,
mixed media
82*113.5 cm
ML/ I 1994/343

Barros [ 39

Bayer, Herbert

1900 Haag, Austria
1985 Montecito,
Californfa

■4 Herbert Bayer

Metamorphosis,
1936

Gelatin fiber print

25.5 x34 cm
ML/F 1977/56
G ruber Collection

Herbert Bayer was a highly versatile artist. He worked as a typographer,
an advertising artist, photographer, painter, sculptor, architect and even
as a designer of office landscapes. The ideals of the Bauhaus, where
Bayer acquired his artistic education, are fittingly reflected in the cre-
ative activities that he pursued during various periods of his life. From
1921 to 1925 he studied at the Bauhaus in Weimar under Johannes Itten,
Oskar Schlemmer, and Wassily Kandinsky. In 1925, he took over the
printing and advertising shop of the Bauhaus in Dessau, where he was
also responsible for the design of Bauhaus printed publications. That is
also when he began working with photography, which became his pre-
ferred means of expression in the thirties, before he emigrated to the
United States. With his photographic work he not only presented him-
self as a representative of the Bauhaus, but he also showed himself to
be especially influenced by the ideas of Surrealism. In this vein, for in-
stance, he created his Self-portrait in 1932 that was characteristic of Sur-
realism, because it blended two levels of reality into a single, traumatic
image. Bayer also applied Surrealism in his photographic montage enti-
tled Lonesome Big City Dweller, in which the artist's hands float in front
of the facade of an inner courtyard in Berlin, with his eyes staring at us
from the palms of those hands, A ghostly scene, with which Bayer ex-
pressed his criticism of the anonymity of the big city. In his photo-

40 I Bayer

A Herbert Bayer

Lonesome Big City Dweller, 1932

Gelatin •.ilver print 34x26.1) cm
ML/F 1977/54

Cruber Collection

Bayer I

T Cecil Beaton
The Marx Brothers,
around 1932

Cehtiii stiver prmi
9. g * lS. 9 cm
ML/F 1977/79

G ruber Collection

■■'■■ ••' -'- * : ::

:•• :■:■ -■:■ y- tV
-:-■. v: ••: •:■■

-;: •.:■ ■:•- $

4 Cecil Beaton
Marilyn Monroe,
1956

Cehtm Silver prim

2$.$ K 20.9Cm

Mt/F 1977/58
Cruber Collection

► Cecil Beaton
Princess Natalie
Paley, around 1930

Gefalin silver print
23.2 x 19,8 cm
ML/Figg4/gi

Cruber Donation

44 I Beaton

Beaton | 45

-* Cecil Beaton
Miss Nancy Beaton,
around 1925

Gelatin silver print
30.5 x 25.5 cm

ML/F 1977/68

Gruber Collection

IB. p. 48:

Cecil Beaton

Fashion, around

>935

Gelatin silver print

24 x18 cm

Ml./F 1977/74

Gruber Collection

III- p. 49:
Cecil Beaton
Fashion Pho
1936

Gelatin silver print
23.9 x 17.8 ar>
ML/F 1977/73
Gruber Collection

the mid-fifties. He also worked for Harper's Bazaar. In the Hollywood of
the thirties, he created portraits of film stars in the somewhat surreal
ambiances of unused .stage sets. In 1937 Beaton was appointed court
photographer of the royal family, and during the Second World War he
was active as a war correspondent for the British Ministry of Informa-
tion. The experience gained during the war years influenced the style
of his portraits, which became less whimsical and sumptuous, thus
becoming clearer and more direct. 7VT

46 J Beaton

a Cecil Beaton

Msriene Dietrich, 1935

Gelatin silver prim
24.3 k i$.2 cm
Ml./F 1977/60

Gruber Collection

Beaton 1 47

48 | Beaton

Beaton | 49

A l K

-V

i^

< Bernd and Hilla
Bee her

Typology of half-
timbered Houses.
1959-W4

Gelatin silver print

each 40. x 31 cm
in 4 fields of
148.} x roS cm
ML/F .985/34

Ludwig Donation

Becher, Bernd

1931 Siegen

Liwes. in Diisseldorf

Becher, Hifla

»gj4 Potsdam
Lfves in DQsseldorf

Bernd Becher was bom in Siegen. Germany on the 20th of August 1931.
After completing an apprenticeship in decoration, he studied at the
State Academies of Art in Stuttgart and in Diisseldorf, where the co-
operation with Hildegard Wobeser began in 1959.

She was born in Potsdam in 1934 and had also completed an ap-
prenticeship in photography and studies at the Academy of Art of Dus-
seldorf. They married in 1961. Together, they developed the concept of
systematic industrial photography with an encyclopedic character.

The work of Bernd and Hilla Becher is entirely specialized in archi-

tecture. It concentrates on average buildings and industrial structures
that are based on similar basic layouts and designs. These buildings al-
ways have some functional conditions in common, differing only in de-
tails, which may stem from tradition, as in half-timbered houses, or

•n technical requirements, as in industrial architecture. The elements
ey have in common are usually related to function, whereas the differ-

ces often relate to regional peculiarities or local zoning regulations.

md and Hilla Becher spent 30 years producing a multitude ofwater-

rers, storehouses, blast furnaces, winding towers, silos and cooling

50 J Becher

Becher f 51

j

r.

T^hP^

j_i

«

\ !S r

k

i i

1

\

I

|M

■* Bernd and Hilla
Becher

Typology of lialp-
timbered Houses,
1959-1974

Gefolin silver print
each 40 » jr tm
in 4 fields of
148.3 x 108 cm
ML/F 1985/34

Ludwig Donation

■

towers, photographed with strictly defined ground rules and systemat-
ically arranged in sequences.

It was only the picture sequences that made the methodology of
their photographic system apparent. Initially regarded as "Anonymous
Sculptures", the conceptional aspect of their photographic work was
only discovered by the art trade much later. The recognition of their
work sparked attention to the photography of all inanimate objects, gen-
erating posthumous public appreciation of the work of artists like Albert
Renger-Patzsch or Karl Blossfeldt. The photographic concept of the

Becher couple continued to be disseminated through their teaching
activities at the most distinguished German school of artistic photo-
graphy. An important effect of that activity was the recognition by the art
scene, for the first time, of technically perfect photographic works. Up to
'hen, the art scene had sought to ignore the technical medium by delib-
erately neglecting the ground rules of photography. The deciding factor
tor that change was the connection, by the Bechers, of object and con-
ceptual photography. RM

52 I Becher

Becher | S3

r (an Berry

Eliiabethville. '960s

CelOtin sihel ■print
Cruber Donation

Becker,
Krimhild

1940 Bonn
Lives in Cologne

k Krimhild Becker
Untitled, 1389

Celatin silver print,
mixed medio

ML/F 1900/1304

Krimhild Becker studied at the Technical College of Cologne from 1961
to 1965, and she continues working there as a freelance artist.

In the course of her work she developed a specific kind of diptych, in
which black-and-white photographs are blended with each other on a
silver-colored background. In some of her works, the individual photo-
graphs are separated by fluorescent tubes. The illumination of the pic-
tures then corresponds exactly to that of the neon tube, which thus sep-
arates and at the same time combines the work. This also imparts a
three-dimensional quality to the work. Krimhild Becker speaks through
her pictures, if need be she gives the viewer cue words like: Gravity, Dis-
tances, Containers. Everyday situations and objects are removed from
their settings in abstract ways and enhanced into symbols of our being-
Removed from their settings of purposeful rationality. Krimhild Becker
presents them as cuit objects in a world of meanings that confront our
functional world, RM

At first, Ian Berry was active as an amateur photographer, dreaming of
a career as a journalist. In 1952 he moved to South Africa, where he
worked as a professional photographer for two newspapers, among
them the Daily Mail. His work with Tom Hopkinson for the African
magazine Drum lasted for more than a year. He produced photographic
series about the Congo, Algeria, the Near and Far East. Berry regards
his photography mainly as social and documentary reporting, which
can accurately depict situations like no other medium. His perspective
is frontal and aimed directly at the event being shown. Whether it is an
uprising in South Africa or a lonesome old woman, his angles seem to
capture emotions on faces as well as the isolation of individual persons
from a distance with the greatest accuracy. The viewer can read Berry's
photographic testimony like a detailed report. The directness of the ex-
pression is further reinforced by masterful cropping. The photographer
was a member of the "Magnum" agency, of which he became a vice
president in 1978. His publications The English and Black and Whites.
Mfrique du Sud attest to Berry's political-social interests. LH

Berry, Ian

1934 Preston.
Lancashire
Lives in London

54 | Becker

Berry | 55

Biasi, Mario de

1925 Bellgno. Italy
Lives in Milan

* Mario de Biasi
Sardinia, 1954

Celolin silver print
30. 1 * 34.4 cm
ML/F 1991/44

Gruber Donation

Mario de Biasi was a trained radio technician before he became inter-
ested in photography. He began his photographic activity during a visit
to Nuremberg in 1945 by teaching himself and by taking a one-year ap-
prenticeship in Germany. His first exhibition came as early as 1948 in
Milan. In 1953 he received the award for the best photograph of the year.
Starting in 1953, he worked as a photojournalistforthe magazine Epoca,
and his picture series made him a leading figure in Italian photojournal-
ism. In 1956 he began creating documentations, among them the war in
Vietnam, the revolt in Prague, papal trips and the earthquake in Sicily.
He also created essays for Epoca on subjects like "The great parks of
Europe" or "Places imagined by authors". To de Biasi, the intensity of
every subject he photographed, be it the observation of the eruption of a
volcano or snow scenes photographed in Siberia at -65° C, became the
pictorial essence of reality. As an author of several photographic books.
such as The Photographer's letter, he demonstrated his proficiency in
portrait, sports and industrial photography. Structural elements, such as
judicious symmetry, are important to de Biasi. His photographs stand

out because of their unconven-
tional perspectives and their
graphic distribution of gray val-
ues. In his series with the title
The Third Eye of Nature, de Biasi
provided new insights into nature
by working with reduced forms
and photographs of light reflec-
tions. In 1982, de Biasi received
the Saint Vincent Award of journ-
alism. LH

p, Use Bing
Self-portrait with
Minors. 19 V

Wr print

Ml/F 1988/178

Use Bing attended the University of Frankfurt in 1920 to study math-
ematics and physics, but she soon changed to art history. Planning to
write her thesis about the architect Friedrich Cilly, she began to take pic-
tures in order to facilitate her research. In 1929 she acquired a Leica,
which she used during the 20 years that followed. She started working
for the lllustrierte Biatt that same year. Her contacts with the avant-garde
artists of Frankfurt soon began to influence her photography, which
clearly reflected the new way of seeing of the twenties in their choice of
subjects and in their perspectives. She became interested in experi-
mental photography, worked with daring perspectives and croppings,
with the play of shadows and with reflections. One of her most famous
photographs is her self-portrait of 1931, in which she made ingenious
se °f mirrors to combine a profile and a frontal view of herself. Im-
pressed by an exhibition by Florence Henri, she moved to Paris in co-
here sh e worked initially for the Hungarian journalist Heinrich Gutt-
lann before she set out on her own to work on photojournalism, archi-
•iLiral photography, as well as advertising and fashion photography for
u ^h magazines as Vu, Arts et Metiers Graphiques, and Le Monde. Later

Bing, rise

1893 Frankfurt/Main
199.8 New York

56 I Biasi

Bing I 57

A HscBing

Boats and Reflec-
tions, on Water, 1931

Gclatirt silver print
ML/F19W/177

on her photographs also began to appear in Vogue and Harper's Bazaar.
In 1936 she traveled to New York, where her work was received enthusi-
astically. A year later, in 1937, she married pianist Konrad Wolf, with
whom she emigrated to the United States in 1941. She began working
exclusively in color in 1957, but made all the prints herself. Nevertheless,
it is her black-and-white photography of the thirties and forties that
brought her the greatest recognition. Use Bing was a sought-after guest
lecturer, because she had an unforgettably fresh and vivacious way of
motivating young photographers. In Germany, she faded somewhat
from the public eye, until she was rediscovered in the mid-eighties. The
Museum Ludwig in Cologne first displayed her work in 1987 as part of
an exhibition entitled "German Pictorialists". An automobile accident in
1993 almost completely forced her to give up her work and her beloved
travels all over the world during the last two years and to concentrate on
her New York City home. RM

+ vwmcr Bischof

Bo, Playing < he F,u »
^r Cuzco. Peru.

CttounsHv" prmt

ML/F '977/84
Grutwi Collection

Werner Bischof is regarded as one of the leading international photo-
journalists of the postwar era. He pursued a career that deviated dra-
matically from his original training. From 1932 to 1936 Bischof studied
at the Arts and Crafts School of Zurich, where his mentor was Hans
Finsler, a photographer devoted to the New Objectivity. Accordingly,
Bischof initially followed a path of precisely arranged and perfectionist
fashion- and object photography. In 1942, Bischof became a full-time
member of the editorial staff of the Swiss magazine Du. working prim-
arily as a fashion photographer. In 194s, he traveled all over Europe,
USir ig his camera to document the destruction left behind by war. He
hen began to take a greater interest in the international press, which
le d him to join the "Magnum" group in 1949. Even though Bischof had
to alter his way of working because of his change to photojournalism, he
netheless retained his sensitivity for technical perfection, creativity
n 'ight and a formal composition of his pictures. No more the care-
y staged and thought-out photograph in a studio, but live, spontan-

Bischof, Werner

1916 Zurich
1954 Peru

58 I Bing

Bischof I 5g

A Werner Bischof
Korea, 195*

Gelatin silver pnur

ML/F i993/ ,2 5
Gruber Donation

eous moments. In 1951 he received an assignment from the American
Life magazine to travel to areas plagued by hunger in Bihar province in
north and central India. The resulting photographic essay Famine in In-
dia brought Bischof his first international success. Even though he was
deeply moved by the abject poverty of the Indian population, this essay
shows him. more as an objective observer who maintained his sense of
composition even in the most desperate situations. This is exemplified
by the accompanying illustration from his India series, in which he ren-
dered the emaciated figures in such a way as to create a powerful com-
position of vertical and horizontal lines.

In later years Bischof made photojournalistic trips to places such as
Japan, Hong Kong, Indochina and Korea, where he became fascinated
by children who, despite poverty and war, demonstrated remarkable
resilience. In Pusan, Korea, he photographed three youths clad in rags
who earned a little money as shoeshine boys at the railroad station. One
of Bischof s best known children's photographs is Boy Playing the Flute
near Cuzco, Peru. Bischof made that photograph only a few days before
his fatal accident in the Peruvian Andes. MBT

60 1 Bischof

A Werner Bischof
Hungary, around
'950

Gelatin silver print
33.5 u ?8.i cm
ML/F '9937124

G'uber Donation

Bischof I 6i

^ Uterrwr Bischof

India. 1951

Gelatin jiA*f />""'
p.9 cm

Gmbcr Donation

r Karl Blossfeldt
Papaver orientate.
Oriental Poppy. Seed
pod enlarged jx,

silver print

26.3x19°"

ML/F 1980/356 VI

From 1881 to 1884, Karl Blossfeldt completed his apprenticeship as a
sculptor and modeler in an art foundry, receiving a scholarship to study
at the college of the Royal Prussian Arts and Crafts Museum in Berlin.
During numerous study trips to the Mediterranean area, he produced
reproductions of plants for educational purposes, there also creating his
St photographs of living plants. In 1 898 he began to teach at the Arts
Crafts College in Berlin, where he established an archive of plates of
Nt photographs for use in his teaching activities: "Modeling after liv-
in g P ants", "The plant in the arts and crafts", etc. He continued to ex-
it archive with the yield from many additional trips. His book

exhibr*"" 3 ' F ° rmS ° fArt was published ; * n ^S- two y ears after hh first
rferCoT' and ft made h ' m famous overnight. His second book, Won-
°f N «ture was published shortly before his death in 1932. TvT

Blossfeldt, Karl

1865 Schielo, Ger-
many
1932 Berlin

6z I Bischof

Blossfeldt [ 63

Blume, Anna

1937 Bo»k

Lives in Cologne and

Hamburg

Blume,
Bern hard
Johannes

153.7 Dortmund
Lives In Cologne and
Hamburg

After reading philosophy at the University of Cologne and fine art at
the DiJsseldorf Academy, Bernhard Johannes Blume developed his
photo-actionistic-metaphorical system of "Ideosculpture" -the pic-
torial staging of everyday encounters- He began with drawings, photo-
graphic sequences and installations (furniture, vases etc.), but his
large, spectacular series of photographs Oedipa! Complications? (Lud-
wig Collection, Vienna) in 1977 marked the beginning of the exclusive
production of such large sequences of photos. The sequences were
done in an actionistic and photographic collaboration with his wife.
Anna Blume. By 1984 the series Wahnzitnmer established them on the
international scene. It was followed by the series KQchenkoller, Mahlzeii
(19S5), Trautes Heim (1985/86) and Vasenekstasen (1986), as well as the
large sequences of photos from the series Im Wald (1982-1990) and
Transzendentaler Konstruktivismus (1994/95). t 999 saw f he completion
of their large-scale digital print series Prinzip Crausamkeit, based on
polaroids taken between 1995 and 1998.

Anna and Bernhard Blume got to know each other while studying
at the Diisseldorf Academy. Anna taught until 1985 art and handicrafts
at a number secondary schools in Cologne, before working as a visiting
lecturer. It is she who is largely responsible for the conception and
realization of their large joint exhibition installations. !n 1987 Bernhard

64 I Blume

Johannes was elected professor at the Hochschule fiir Bildende Kunste
in Hamburg.

Most especially the Blumes' black and white series hold up a mirror
to the daily madness of "home sweet home", the absurdity of middle
class and petty bourgeois institutions, habits and rituals. The accompa-
nying aesthetics are plunged into "chaos" by the rigid formalization of
the Blumes" pictures and their ironic, disjointed actionism. The appar-
ent security of this life world becomes easy to see through amidst the
scenes of breakdown that they stage.

Since the seventies, and above all since the eighties and the com-
ncement of their col la bo rat ion, the two photographers have also
produced extensive series and collages using Polaroids. These chiefly
f "mutual parodistic photo-portraiture", in an often painful
Tibmation with a variety of brightly coloured plastic objects, which
come to fuse with the various halves of the portraits during the direct or
^ig'ta collage procedure. In 1990 the artists wrote in this connection in
sir catalogues: "[...] While searching for a mutual ego during our
° ° Bra P h,c q««ts, there emerged a different reality with'an opposing

aesthet ^ ^ ^ °* lECTS are this l and WE! The for ™- colour and
not \A " :>fSUCh th ' ngS areoLJrf ate! Indeed, the objects are related, if
^nfcal, to us! I, YOU, HE, SHE, IT, WE, YOU, THEM." RM

A Anna and
Bernhard Johannes
Blume
Bmiappeul!, 1986

Celotin silver print
5 ports, each
126.8 X gi.i cm
M L/Fi 988/1 gr-V

Hypo-Bank
Donation

Blume I 65

■* Radovan Bodek
Happening at ihe
Former Stalin

Monument, iggq

Gelatin silver pnnr
ML/F 1990/1271,

Bocek, Radovan

1963 Reykjavik,

Iceland

Lives in Prague

Radovan Bocek initially studied foreign trade along with photography at
the Public Art College and at the Institute for Applied Photography in
Prague. In 1987 he completed his studies of photography at the Motion
Picture and Television College (FAMU) in Prague, and in November
1989 he was a co-founder of the "Radost" agency.

Bocek at first devoted himself to landscape photography, but he
later switched to photojournalism and documentary photography- While
his early photographs were very descriptive, later ones conveyed a more
vivid impression of the situation, bringing it right to the point. In the
autumn of 1989, Bocek created a pictorial record of the demonstrations
during the peaceful revolution in Prague, describing the situation by
means of few pictures and moments. His camera covered the dramatic
events from the first intervention by the police to the campaign to elect
Vaclav Havel president of the republic. His photograph Happening at the
Former Stalin Monument with the undulating star banner and the flag
waving above it symbolically expresses the aspirations of people in a
powerfully succinct way. RM

r Hans-Ludwig

gchme

gody III. I W

iterprirrf.

ML/F1995/ 86

Hans-Ludwig Bdhme began studying Germanic and English languages
and literature in Jena, and from 1971 to 1982 he was a teacher at the
children's and youth sports school in Dresden before turning his pas-
sion for photography into his profession. Today he can be described as
one of the outstanding German theater photographers. His theater pho-
tography does not merely show actors on a stage - it is, in a more real-
istic sense, choreographed photography. Bdhme regards his profes-
sional work a5 being no different from his artistic work. He does not
just seek a pictorial record, but pictures in which he uses photography
and chemistry as creative means for interpreting the given contents,
people, things, spaces and paper collages. The rectangle of a photo-
graph becomes a new stage on which things and people perform. Espe-
C| ally in nude photography, he has been able to use the rectangle of pho-

°g f aphic paper to create novel backgrounds for unusual arrangements.
RrVf

Boh me,
Hans-Ludwig

19,55 Coswig, Ger-
many
Lives in Coswig

66 I Botek

B6hme|67

Boje, Walter

1905 Berlin
1992 Leverkusen

t Walter Boje
Man and his Desi
around 1955

Co tor print
50.5 x 30.3 cm
ML/F 1989/52

Walter Boje, in addition to his studies of applied economics, which he
concluded with a doctorate, also dedicated himself to painting. He used
this means to further expand the knowledge he had acquired during an
apprenticeship with a restorer of paintings. After serving as an adviser
at Berlin University, he became general secretary of the German Acad-
emy for Air Research. After the war, he made his hobby into his profes-
sion and began working as a photographer. His main interest was
theater photography, which he began practicing as early as 1950, using
color film and available light. Boje made a creative tool out of mastering
the challenge ofthe low-speed films of that era and the resulting long

exposure times. He began to cap-
ture motion sequences photo-
graphically.

In addition to his practical
work, Boje also distinguished
himself as an active supporter of
professional photography and as
an author of numerous articles
and books. His 1961 book The
Magic of Color Photography was
probably his most popular one,
He performed journalistic work
by becoming the editor ofthe
magazine Der Bildjournalist and
ofthe Photohlatter. Upon com-
pleting his activities in the public
relations department of Agfa in
Leverkusen. he was the director
ofthe Famous Photographers
School in Munich from 1969 to
1972. He was the Honorary Chair-
man ofthe German Photographic
Academy when he passed away if 1
Leverkusen on the 20th of July
1992. R/Vf

f. cerd Sorifert

m Hfe),

199'

MUF 1992/ 100
Tbypla Donation

For two years now Gerd Bonfert has been applying photography to inter-
pret the phenomenon ofthe immaterial. The medium he chose for this
purpose is light. At an early stage he scratched light tracks on a blurred
self-portrait, allowing contours to dissipate. In today's pictures light has
become completely independent, separating itself from things. Strictly
speaking, we basically do not see actual objects themselves, only the

ittraction of visible lightwaves around these objects. Thus photography
quite logically does not show the object, but its effects on light. This be-
es particularly evident in a series with sculptural elements, where
- illuminated edges of geometrical objects seem to float in a room
that constitutes itself before our eyes with a definable depth. The ob-
s "lust have been present, otherwise light would not have been
cted. As if by magic, their presence is conjured up by the effects of
' % while their material content has disappeared. RM

Bonfert, Gerd

1353 Blaj, Romania
Lives in Cologne

6& J Boje

Bonfert I

^ Rudolf Son vie
Fighlers, 1984

Color prim
MJ x 34$ cm
ML/F 1989/138

Bonvie, Rudolf

1947 HofTnungslsl.

Germany

Lives in

HofFnungsial

After studying at works schools in Cologne and at the Philosophical Fac-
ulty of Cologne University, Rudolf Bonvie first worked on serial projects
that dealt with male role cliches. He used a combination of texts and
photographs, but he also extended the work into sculptural media and
installations, even adding video segments. After various critical artistic
commentaries regarding photojournalism, he came upon the problem
of human communication in a technical world with its symbols and sig-
nals. His photograph Fighters stems from that period.

Later on, Bonvie concentrated more and more on the problem of

making portraits, on creating an image for oneself. On one hand, he

ers portraits to be a kind of violation of personal integrity, and on
tnerhand a problem of remembering. In the process, his work be-
s more abstract, the photographic part unmasks itself in graini-
"hrlethe dubiousness of the authenticity of the photograph docu-
ments itself in fragmentation. RM

70 J Bonvie

Bonvie 1 71

Bourke-White,

Margaret

190/, New York
1971 Stanford.
Connecticut

A Margaret Bourke-
White

Mahatma Candhi,
1946

Gelatin silver print
26.Sx}4,2cm

ML/F 1977/9=
Gruber Collection

The work of Margaret Bourke-White has become symbolic of American
political and social-minded photojournalism. Interested mostly in in-
dustrial photography since 1928, she received her first major assign-
ment from Fortune magazine in 1930, traveling to the Soviet Union,
where she became the first foreign reporter to receive permission to
photograph Soviet industrial installations. Margaret Bourke-White was
one of the founding members of Life magazine in 1 936, on which her
photograph of Fort Peck Dam, then the largest hydroelectric power
plant in the world, was used as the first cover picture. During the Sec-
ond World War, Margaret Bourke-White served as a photographic war
correspondent- After the capitulation of Germany, her shocking photo-
graphs of liberated concentration camps attracted worldwide attention-
In 1946 she traveled to India on assignment from Life to document
that country's struggle for freedom. In her photograph of Gandhi, she
emphasized the spinning wheel, symbol of India's independence, by

r Margaret Bourke
While

Miners. Johannes-
burg, mo
Geblin silver print

7V/9°
Gruber Collection

P "fflng it d ominant | v in the foreground At the end of 1949j ufe maga _

few mo nt h Margarel Bourke - Wnite on ^signment to South Africa for a

nearly^ 1S ' f There ' *" a g °' d mfne near Johannesburg, at a depth of

graph of 1° (15 °° m) 3nd ' n bli5terfn § heat ' she ™de the photo-

sh * herself H tW ,° ^ ^^ drenChed ln SW6at " a P hot °g ra P h **
declared to be one of her favorite pictures. MBT

72 1 Bourke-White

Bourke-White | 73

Brake, Brian

1927 Wellington,
New Zealand
1988 Auckland

▼ Brian Brake
Untitled (country
heaier in China),
around 1950

Gelatin silver print
2$,2XV/ urn
ML/F 1994/107

C ruber Donation

New Zealander Brian Brake became interested in photography in the
late thirties. In 1945 he began an apprenticeship with Spencer Digby.
Two years later he worked as a cameraman for the New Zealand Film
Unit. In the early fifties, a scholarship for the study of color cinemato-
graphy techniques took him to London. There he became acquainted
with members of "Magnum", and in 1955 he joined that association of
photographers. He made freelance photographs for such international
magazines as Life, National Geographic and Paris Match, covering Asia,
Africa and the Pacific area. In his color essay Monsoon, he presented as-
pects of the monsoon, partly with large portraits of rain-drenched faces,
and this earned him the American photographic prize "The Award of
Merit". For a time he worked as a journalist in Hong Kong, In 1967 he
switched from "Magnum" to the "Rapho" agency. In the seventies he

participated in the creation of a
movie film production unit, and
during the five years that followed
he created eight motion pictures
about Indonesia. Brake primarily
documented people, their expres-
sions and their living conditions.
It did not matter whether the
people were in Nigeria, Tibet or
Hong Kong; he preferred to em-
phasize the individual in his or her
particular cultural environment.
Brake also photographed objects
of art. In his book The Sacred
Image, published in Cologne in
1979, he used a frontal perspect-
ive in his photographs of statues
of the Buddha to convey the
beauty of their stylistically similar,
yet individually personalized
faces. Brake returned to New
Zealand in 1976 and continued to
work as a freelance photographer
in Auckland until his death in
iq88. LH

A Brian Brake

Chinese ABC,
around 1950

Gelatin silver prim
J9.9 X2y.8 cm
ML/F 1994/103

Gruber Donation

< Brian Brake
Hong Kong. 1959

Gelatin silver print
'6,8 x24.8 cm
ML/Fig 77 /899

C ruber Donation

74 J Brake

Brake | 75

Brandt, Bill

1904 Hamburg
1C|8} London

Bill Brandt became interested in photography during a visit to Vienna in
the mid-twenties. In 1929 he moved to Paris, where he worked for three
months as an assistant in the studio of Man Ray. There he became ac-
quainted with the art and motion pictures of surrealists. In 1931 he re-
turned to London. From 1931 to ""935 he worked as a freelance photo-
grapher, creating a photographic documentation of the social life of the
English, which he published in 1936 in the form of a book entitled The
English at Home. Two years later, in 193*. h ' 15 P icture book A N '§ ht '"
London became the English counterpart to Brassai's successful 1932
book Paris de Nuit. During the depression years, Brandt documented life
in the industrial cities of England. During the war, he worked for the
British Home Office creating picture essays about London and record-
ing the ghostly scenery of empty streets during the London Blitz. His
photographs of air-raid shelters and underground stations used as
shelters were published in magazines along with Henry Moore's Salter
Sketchbook Images, which dealt with the same subjects. While Brandt,
during the thirties, concentrated mostly on social themes, cityscapes
and architecture, during the forties he more and more made a name for
himself in portraiture. His subjects were mostly artists and literati, occa-
sionally businessmen and politicians. Another subject that he favored
between 1945 and 1950 was the English countryside. His photograph
Stonebenge, which was published in the 19 April 1947 issue of the Picture
Post, stems from that period. The dramatic attraction of this photograph
comes from the contrast between the white fields of snow and the stark
black silhouette of Stonehenge, which gives that photograph a strong

graphic effect.

Stimulated by experiments with a wide-angle camera, Brandt, in the
mid-forties, discovered the nude photographed from a distorting per-
spective. In his nude photographs, he usually concentrated on a detail
or, as in the accompanying illustration, on a cropped part of the female
body. The sparsely furnished rooms, slightly distorted in the picture, in
which Brandt positioned his models, imparted a mysterious, surreal at-
mosphere to the entire scene. In 1961 Brandt published the results of
this phase of his work in a book entitled Perspectives of Nudes. MBT

76 I Brandt

* Bill Brandt
Nude, from J he cycle
"Perspectives of
Nudes", 1961

Gelatin silver print

34-0 x 28.9 cm
ML/F '977/97

CruberColleciion

Brandt | 77

A Bill Brandt

Stonchcnge. 1947

Gelatin silver prim
17.6x18.7 cm
ML/F 19777102

Grubfir Collection

7 S] Brandt

A Eill Brandt
Portrait of a Younj
Girl, Eaton Pface.
London, 1955

Gelatin silver print

ML/F>g 7 7/94
Gruber Collection

Brandt 1 79

Brassai
(Gyula HaiSsz)

1899 Biasso,

Hungary (now
Brasvo, Romania)
1984 Bcaulieu-stlr-
Mer.Souih of France

Cyula Halasz, known since 1932 by his pseudonym Brassai (derived
from "de Brasso", his place of birth), came to photography through self.
education. He first studied art in Budapest (1918-1919) and Berlin
(1920-1922), and soon he was active in circies that included Laszl6
Moholy-Nagy, Wassily Kandinsky and Oskar Kokoschka. In 1924 he went
to Paris as a journalist. There he became acquainted with Eugene Atget
in 1925, whose work was to become a constant model for his later work.
A year later he met his compatriot Andre Kertesz, whom he often ac-
companied on assignments and whose photographs he occasionally

•« Brassai
Sailors' Love. I9J*

Gelalin silver V'tal
?gj x 7J.S em
ML/F 1977/' 06
Griiber Colledion

So I Brassai

»■ Brass*
j^Prt^U.ieB.icu

ardela

verpttot

ML/Fi977/'09

used for the documentation of his own work. In 1929 Brassai borrowed
a camera and made his very first photographs, and soon afterwards he
decided to purchase his own Voigtlander camera. During his extended
wanderings through night-time Paris, Brassai" began, in 1930, to record
the deserted streets and squares of that city. The results of this work
were published in 1932 in his famous book Pons de Nuit, Aside from the
aesthetic fascination of the mysterious and stage-set-like architecture,
ie photographer also experienced the technical challenge posed by the

rerne lighting conditions for his night-time photographs. During
lese nightly sojourns, Brassai was also fascinated by the activities of
K'ety. In the bars and in the streets he recorded the night owls of the
ty. Photographing tramps, prostitutes, lovers, dancers and other color-

gures. Among the best known photographs of this period is The
restitute Bijou. The heavily made-up and opulently bejeweled, heavily-
"nsian woman attracted BrassaT's camera. However the publics-

A Brassai
Dancers. 1933

Gelatin silver prinl
22.6x29.3 cm
ML/F 1977/112

Cruber Collection

► Brassai

Hospice de Beaune,
around 1950

Gelatin silver print
39.5 x 33.3 cm
ML;Ft977/K>7

Cruber Collection

tion of that photograph in his book Paris de Nuit incensed the old lady,
and it took a few banknotes to placate her ire.

In 1932 Brassai discovered the graffiti on the walls of Paris, and he
covered this subject for many years to come. Through his contributions
to the surrealist magazine Minotaure during the thirties, Brassai' became
acquainted with many writers, poets and artists of Surrealism. He began
to work for Harper's Bazaar in 1937, and he supplied that magazine with
many photographic essays about famous literary personalities and art-
ists. In 1962, after the death of Carmel Snow, the publisher of Harper's
Bazaar, Brassai gave up photography altogether. From then on, he kept
busy making new prints of his photographs and new editions of his earl-
ier books. MBT

82 J Brassai

BrassaT | 83

Bratrstvo

(Brotherhood)

Founded 1989 in
Prague

Dissolved 1994 in
Prague

■^ Bratrstvo

Harvester's Bride
1989

Gelatin iilver print
7J-5 X 17 cm
ML/f I090/»2g5

*V

Bratrstvo is not the name of an individual artist, but of a group of artists

that existed for about four years and which was closely tied to the peace-
ful revolution of the former Czechoslovakia. The group, formed in 1989,
consisted of young artists like Vaclav Jirasek. Petr Krejzek, Roman Muse-
lik and Zdenek Sokol, who developed a style of staged photography that
took a critical and ironical look at the aesthetics of Socialistic Realism.
They caricatured the heroic posturings of agricultural workers and sol-
diers, workers and civil servants. In the beginning, they consistently de-
clined individual photo credits, using the group's name Bratrstvo in-
stead. The group dissolved in 1994. RM

MJr |o Broekmans
Wheel or The
g^te Chnst. 1983

Om prim

995/117

jchcid
Donatio"

Mario Broekmans studied at the Pedagogic Academy from 1970 to 1973.
and from 1973 to 1977 she studied psychology at the University of Am-
sterdam. In 1978, she began working as a freelance photographer. From
1979 to 1981 she worked very closely with Diana Bbk. This cooperation
culminated with the publication of the book Invisible Forces. She devised
her own themes and followed a specific style, staging her own settings.
Mario Broekmans combined photo-performance with double exposures
and used a special way of incorporating the play of light and shadows.
These photographs were first published in 1989 as an overview in the
took Mario Broekmans - The Woman of Light. Her photographic work
concentrates on mythical-psychological aspects, but also on eroticism -
1 aspect that is especially apparent in her latest work on the subject of
overs". Her handling of light diffraction and shadow effects is in the
Qition of constructive and cubist worlds of photography. Mario Brock-
s' Work found recognition in the eighties not only in the Nether-
ands ' bul throughout Europe. RM

Broekmans,
Mario

1953 Hoorn

Lives in Amsterdam

84 J Bratrstvo

Broekmans 1 85

Burri, Rene

1933 Zurich
Lives in Paris

A Rene Burri
Che Guevara.
Havana, Cuba, 1963

Gelatin silver print

23x30

(tach x $.3) cm

ML/F 1984/14

Cruber Donation

From 1950 to 1953, Rene Burri studied photography under Hans Finsler
and Alfred Wjllimann at the Arts and Crafts College in Zurich, In 1953,
thanks to a scholarship, he was also able to take up motion pictures. He
made small documentary films and, still in 1953, he was the camera as-
sistant to Ernest A. Heininger for one of the first Cinemascope Pirns
about Switzerland, Two years later Burri joined the agency "Magnum".
During the years that followed, he traveled all over the world. The spec-
trum of his subjects ranged from political reportage to landscapes, ar-
chitecture, industry and city reports all the way to portraits of prominent
artists, architects, and literary personalities. One of his most famous
portraits is that of Che Guevara, which became a symbol of the Cuban
revolution. During 1960, Burri worked mostly in Germany preparing ma-
terial for his book The Germans, a compilation of Burri's photographs
and texts about the Germans by various authors. In 1965 Burri partici-
pated in the establishment of "Magnum Films". Together with Bruno
Barbey. he opened the Magnum Gallery in Paris in 1982. He has been the
art director of the Swiss magazine Schweizer lllustrierte since igSS. MBT

Harry Callahan initially studied engineering at Michigan State University,
and from 1934 to 1944 he worked at Chrysler Motors. In 1938 Callahan
became interested in photography. Having attended a lecture by Ansel
Adams in 7941, and after seeing one of his exhibitions, Adams became
Callahan's great role model. Callahan then began making photographs
with a large-format camera. Beginning in 1946, he taught photography
at the Chicago Institute of Design, and in 1949 he took over as director
of its Department of Photography. During that period, he became
n'ends with Hugo Weber, Mies van der Rohe, Aaron Siskind and Edward
Steichen. In 1961, Callahan became the director of the Department of
Mography of the Rhode Island School of Design in Providence, Rl.
In his photographic work, Callahan showed a predilection for detail
>ts, to which he often imparted an abstract effect through tight crop-
E- He liked to experiment with double exposures, and he also used
"■exposures to create a graphic effect in his photographs. MBT

Callahan, Harry

1912 Detroit,
Michigan
1999 deceased

A Harry Callahan

Nature, 1948

Gelatin silver print
17.9 x 24.8 cm
ML/F 1984/16

Cruber Donation

86 I Burri

Callahan | 87

Capa, Cornell

^Kernel Friedmann)

igi8 Budapest

Lives in New York

T Cornell Capa
Boris Pasternak.

1958

Gelatin lilver print
j4»?2.6crrt
ML/F 1977/114

Gruber Collection

Cornell Capa, born Kornel Friedmann, distinguished himself in the field
of photography in three ways: he himself worked as a photojournalist
for more than 30 years, he promoted the work of his brother Robert
Capa, and he was the founder and director of the International Center
for Photography (ICP) in New York City.

Capa became involved with photography when he went to Paris in
1936 and began developing films and making prints for his brother
Robert Capa, David Seymour and Henri Cartier-Bresson. Capa emig-
rated to New York in 1937, where at first he worked for the picture
agency "Pix". In 1938 he moved over to Life magazine, where he met
many photojournalists, who stimulated him to begin his own photo-
graphic activities. In 1946 he became a staff photographer at Life maga-
zine. In the years that followed, he created approximately 300 photo-
graphic essays for that magazine.
In 1958, Capa spent six weeks in
the Soviet Union creating an es-
say about the Russian Orthodox
Church. During that time he also
had the opportunity to meet
Russian author and lyric poet
Boris Pasternak, who had won the
Nobel Prize for literature during
that same year, and to take pic-
tures in Pasternak's dacha in
Peredelkino. Soon afterwards, the
Soviet government prohibited
Pasternak from receiving foreign
visitors and it also refused per-
mission for him to travel to Stock-
holm to receive his Nobel Prize.
After founding the Interna-
tional Center of Photography in
New York and becoming its dir-
ector in 1974, Cornell Capa gave
up work as a photographer- MBT

Robert Capa, born Andre Friedmann, studied political science at the
University of Berlin from 1931; to 1933. He was a self-taught photo-
grapher, and in 1931 he started working as a photo lab assistant at
Ullstein (a publishing house). In 1932 and 1933 he worked as a photo
assistant at Dephot (Deutscher Photodienst, a news agency). In 1933
he emigrated to Paris, where he changed his name to Robert Capa and
where he began working as a freelance photographer. His photographs
of the Spanish Civil War attracted attention to his name in Paris. His
'ery first series already included the picture entitled Death of a Spanish
Loyalist, which to this day is still his most famous and much discussed

>tograph. From then on he concentrated on being a photographic
war correspondent He traveled to China, Italy, France, Germany and
'srael. On the 25th of May 1954 he was fatally injured in Thai-Binh, Viet-
"11. His death was the tragic consequence of his own motto "If your
es aren't good enough, you aren't close enough". His talent for
itedly conveying the feelings and suffering of people in civil wars or
llQ ns in a single picture earned him great admiration.
quality that transpires throughout Capa's pictures is his fascina-
,r the fine edge along which humans proceed between the will to

Capa, Robert

(Andre Friedmann)

1913, Budapest
1954 Thai-Binh,

Vietnam

A Robert Capa
D-Day. 1944

Gelatin silver print

ML/F 1977/1-5

Gruber Collection

Capa, C

Capa, R. 1 89

A Robert Caps

Untitled (Wounded
Soldier], 1944

Gelatin silver prim
«.g * 34-1 to
ML/F 1 993 Z 1 54

C ruber Donation

► Robert Cap a
Transporting a
Wounded Soldier in
a Wheelbarrow, 1944

Gelatin silver print

j6.j X34.' cm
ML/F 1993/M3

Cruber Donation

p. Robert CaP a
Sicilian Campaign.

Overprint

,93/142

Gnibo Donation

'"d the urge for self-destruction. His obsession with his work made
e most famous war correspondent of this century. But Capa did
set standards for photography and perform exemplary work.
< «s also a manifesto against war, against injustice and oppres-
'•e Robert Capa Gold Medal Award has been presented in his
* 1955- The International Fund for Concerned Photography
d by him. His brother Cornell Capa founded the International
Photography in New York partly for the purpose of preserving
°f Robert Capa and for making it accessible to the public. RM

90 I Capa, R.

Capa, R. I 91

A Robert Capa
Untitled (Blind
People), 1956

Gelatin silver print
55J 1- 54.6 cm
ML/F 1993/141
Cruber Donation

*■ Robert Capa

Infantry Soldiers in
Tro'tana, Italy, 1943

Gttatfasllwrprlnt

15,4 1 34.3 cm
ML/F 1993/137

Gruber Donation

Robert Capa
Out" of
^.Sicily, 1943

:^r print
yal\

93/146

Donation

► Robert Capa
March tottie Prison
Camp. I ranee, 1944

Cilaiw iih/ei print
J4, 6 x 34.2 cm

Gruber Donation

*f5

92 I Capa, R.

Capa, R. I 93

Cartier-Bresson,
Henri

igoSCanieloup

Lives in Pans

a Henri Cartier-
Bresson

Sunday on the Banks
of the Marne, 1538

Gelatin silver print

ML/F 1977/14.
Cruber Collection

^ Henri Cartier-
Bresson

Rue MoufTt-iard,
Paris, 195S

Gelatin silver prim
37. 2 x ?5. 1 cm

ML/F 1977/126

Cruber Collection

Henri Cartier-Bresson attended the Ecole Fenelon and the Lycee Con-
dorcet in Paris before studying painting under Cotenet from 1922 to
1923 and under Andre Lhote from 1927 to 1928, both in Paris. After that,
he completed his studies of painting and philosophy at Cambridge Uni-
versity. His career as a photographer began in 1931. After participating
in an ethnographic expedition to Mexico, he began working as a free-
lance photographer. In 1932, gallery owner Julien Levy hosted his first
solo exhibition. In 1935, he learned about motion picture photography
from Paul Strand. After that he worked as a camera assistant for
Jacques Becker and Andre" Zvoboda and also for Jean Renoir. In 1937 he
made documentary films in Spain, and in 1940 he became a prisoner of
war of the Germans in the state of Baden-WCirttemberg.

After escaping in 1943, he joined the MNPGD, a French under-
ground resistance movement. After 1945 he once again turned to free-
lance photography. He authored many books illustrated with his pho-
tographs, among them The Decisive Moment, Changing China and The
World of Henri Cartier-Bresson. In 1970 he married the photographer
Martine Franck.

Cartier-Bresson is a living legend. Hardly any other photographer

94 I Cartier-Bresson

Cartier-Bresson | 95

A Henri Cartier-
Bresson
Seville, Spain, 1933

Gelatin silver prim
27.2*41.] un
ML/F 1977/130

Gruber Collection

has been cited so often as exemplary of one of the great capabilities of
photography: capturing a moment. In Cartier-Bresson 's view, it is not
just any moment, as it is in 99% of the millions of pictures made every
day, for him it is "le moment decisif", the decisive moment that ex-
presses the essence of a situation.

This photographer worked for nearly all the great international news-,
papers and magazines of the world. Together with Robert Capa, David
"Chim" Seymour and George Rodger, he founded the "Magnum" group.
and his travels took him to India, Burma, Pakistan, China, Indonesia,
Cuba, Mexico, Canada, Japan and the former USSR.

Today Cartier- Bresson no longer takes pictures, having returned to
his original passion of painting and drawing. Those who lament this
may not have taken his earlier pronouncements seriously enough: 'Ac-
tually, I am not at all interested in the photograph itself. The only thing
want is to capture a fraction of a second of reality."

Thanks to the Gruber Collection, the Museum Ludwig owns som
the most famous photographs by Cartier-Bresson, such as Prisone r0 J
War Camp in Dessau, Germany, where he captured the moment wn

a Henri Cartier-
Bresson

Srsnagar, Cashmere,
1948

Celotin silver print
z/.j x 33.9 cm
ML/F1977/HO

Gruber Collection

•* Henri Cartier-
Bresson
Shanghai, 194-9

Gelatin silver print
277 * 39. 9 cm
ML/F l977/i39
Gruber Collection

96 I Cartier-Bresson

Cartier-Bresson ] 97

-* Henri Cartier-
Bresson

Alberto GracomcUi.
1961

Gelatin silver print
jjf 1 16.5 cm
ML/F 1977/lJI

Grubcr Collectton

former prisoner recognized the person who had denounced her and
who had brought her into that camp. Or Rue Moujfetarcl, Park, a street
scene showing a small boy with a proudly raised face bringing home
two bottles of red wine. There is also the frequently published Seine
Boatman, showing a glimpse at the cabin of a freight barge, with the
barge master in the foreground looking at his family standing in the
doorway. Even the dog assumed an expectant pose. The most often
published picture, however, has to be Sunday on the Banks of the Marne,
a picture that epitomizes the idylls of the Sunday picnic. The river is
as calm as a lake, fishing lines hang from the tied-up boats, and two
couples sit on the grass with their backs to the viewer. The plates have
been eaten clean, the last glass of red wine is just being poured. The
P'cture expresses tranquility, yet it contains everything that one would
associate with a typical French picnic. Every one of Cartier-Bresson's
Photographs contains its own specific tension. In his photograph
wnghai, one can feel the anxious shoving of the people eagerly trying
°get to the bank counter. It is as if the crowded ness has spilled over
tne picture and the photographer tried to squeeze as many people
°ssible into it. The portrait of Giacometti is also particularly charm-

A Henri Cartier-

Bresson

Henri Maltsse. 1944

Gelatin stiver print

16.} '39-9 cm
ML/F 1977/M3
Cruber Collection

[Cartier-Bresson

Cartier-Brcsson ] gg

▼ Henri Cartier-
Bresson
Calant vert,
Paris, 1953

Gelatin silver print
j/f. 6 x36.3 cm
ML/F 1988/85

Cruber Donation

ing. A sculpture in each hand, he is walking across his studio, his
blurred, Forward-leaning figure resembling the dark sculpture of a thin
walking man in the foreground. Those who did not understand Gia-
cometti up to then, will certainly do so after one look at Cartier-
Bresson's photograph.

Cartier-Bresson repeatedly emphasized that one could not learn to
make photographs. He himself was blessed with an enormous talent for
perception and ability to react, and he had the uncanny sense always to
be at the right place at the right time in situations that interested him,
and then to press the button precisely when he perceived the situation
to culminate. He would then have snatched a fragment of reality from
passing into oblivion, playing a trick on time, as it were. To Cartier-
Bresson, the concept that photography is capable of faithfully reproduc-
ing reality, that it contains the possibility of truth, is of major import-
ance. His kind of photography is possible only when the above is the
premise. Because the moment in question, the one that is deemed as
"decisive", is so only in the situation that was experienced, it requires
this direct relationship to reality in order to be understood as 'decisive".

In this sense, Cartier-Bresson was an astute observer, a man of the eye,
who knew what he wanted and what interested him. He once compared
himself to a fisherman who had a fish at the end of his line. The most
important thing was to approach his quarry cautiously, and to strike at
just the right moment. RM

A Henri Cartier-
Bresson

Prisoner of War
Camp in Dessau,
Germany, 1945,

Gelatin silver print
17.2 x 24.5 cm

ML/F 1977/150

Gruber Collection

IOO I Cartier-Bresson

Cartier-Bresson 1 101

Chargesheimer

(Karl Heinz
Hargesheimer)

192^ Cologne
1971 Cologne

Karl Heinz Hargeshermer attended the College of Commerce in
Cologne, where his teachers noticed his anti-National-Socialist atti-
tudes. In 1942 he had a lobe of one of his lungs inactivated in order to
evade military conscription. Based on his abilities, he was then accepter!
into the photographic curriculum of a Cologne factory school without
the respective prerequisites. There are conflicting reports about his |jf e
between 1944 and 1947. It is said that he disappeared into the Alsace
and that he was in a concentration camp. He himself kept silent about
this period. In 1948, on the occasion of a story for the magazine Stern
he gave himself the name Chargesheimer. During the late forties, he
and his friend Gunther WeiE-Margis planned his first publication about
the war-ravaged city of Cologne, but the aestheticized nature of his pic-
tures found no willing publisher. His first gelatine-silver experiments
and abstract sculptures were also created during that period. From 1950
to 1955 he was a lecturer at the BiKIa School in Dusseldorf. In 7956, L
Fritz Cruber exhibited his work at Photokina. In 1957 he started a series
of photo books, all of which caused a furore: Cologne intime, UnterKrah-

■4 Chargestieim»
Konratf Adenauer,

Celatirt silver P" nC
29.2 x318 cm
ML/F1977/V*
Cruber Collection

l> d-r* hein,er

_ n the

oto rt«*'f«rP rfnl
380/386

nenbaumen, In the Ruhr Region, Romanesque Style on the Rhine, People at
the Rhine, Berlin - Pictures of a Big City and Interim Balance Sheet. These
books demonstrated to the trade that he not only had a specific outlook,
but also new concepts about utilizing his pictures in books and bringing
them to people's attention.

This series concluded imgfez, and Chargesheimer dedicated him-
self to the stage. He was a stage designer and director in Bonn,
Cologne, Brunswick, Hamburg, Vienna and Kassel, busied himself with
kinetic sculptures, his meditation mills. In addition, he took up his ab-
stract photography and light graphics again, with which he attempted to
break into the art trade. But it was not until the eighties that the signific-

102 I Chargesheimer

Chargesheimer 1 103

A Chargesheimer
Ruins, around 1947

Gelatin silver print
39.J x 2Q.& cm
ML/F 1982/1196

A * Chargesheimer

Nord-SCid-Fahrt.
1969

Gelatin silver print

39.6*29.7 em

ML/F19S1/196

ance of this experimental photography was recognized. Chargesheimer
received the Cultural Award of the German Society for Photography in
1 968 and the Karl Ernst Osthaus Prize from the city of Hagen in 1970. In
1978, his estate was donated to the Museum Ludwig in Cologne, and
his meditation mills and light graphics followed in 1989. The scholar-
ship for the furtherance of photography sponsored by the city of
Cologne has been named after him since 1986. Chargesheimer, an early
exponent of inter-media art, is now recognized internationally for his
significance as an avant-gardist. These successes had no bearing on the
fact that he became embroiled in a personal crisis that was also heavily
Fanned by social developments. His book Cologne 5:30 AM in which he
focused intensely on the spread of concrete in his home town of
Cologne from the point of view of a conceptional city portrait, even re-
jecting a foreword already written by Heinrich Boll, became his legacy.
He died under mysterious circumstances on New Year's eve in 197 1 -
RM

A Chargesheimer
Ballet Break,
around 1963.

Cetatin silver ptiril
ML/F 1980/172

104 I Chargesheimer

Chargesheimer | 105

k Chargeshcimer
Musical Reflection
(gelatin silver prim
painting)
(Wagner), 1949

Gelatin silver print .
mixed medio
39.7 x 48.6 cot

Ml/F 1994/66

A Chargeshcimer

Untitled (gelatin
silver prim painting),
around 196!

Gelatin silver print,
mired media
49 5 * 59-5 em
ML/F 1994/68

106 I Chargesheimer

Chargesheimer 1 107

Claasen,
Hermann

1899 Cologne
1987 Cologne

a Hermann Claasen
Chrisl among the
Ruins, 1945

Ctlatiit iilftr print

ML/F 19S7/170

108 I Claasen

Hermann Claasen was only 14 years old when he began making photo-
graphic experiments with a camera made from a cigar box. After the col-
lapse of his parents' 1 textile business, where he too had worked, the self-
taught Claasen made the daring move to professional photography.

His photographic archive was destroyed during a bombing raid in
1942. During the war he photographed the ruins and the people in
Cologne and its surroundings. These photographs are among the mos
gripping documents of the destroyed city. His unforgettable picture
Christ among the Ruins is a symbolic memorial: against war. Life with
crude improvisation, the daily battle for bare necessities, they were all
chronicled by Claasen, A selection of these pictures was published in
1947 in the book Songs in the Furnace, supplemented by an exhibition ■
the Eigelsteintor city gate in Cologne under the title "Cologne - the
Tragedy of a City". Since his death, the District Savings Bank of Colog n
has been sponsoring the Hermann Claasen Prize, a scholarship to
foster young photographers. RM

a«« c " h « dra \
m , be south,

Gelatjfliilrt'l"""
£7/168

« Hermann Claasen
Neumarkt Square in
Cologne, first day-
light bombing raid,
•944
Gelatin silver print

ML/F 1993/156
Gruber Donation

CJaasen 1 109

Clausen,
Rose marie

1907 Berlin

iggoHambuTg

► Rosemarie Clausen
"Endgame"' by

Samuel Becko-n, 196S

Cehtin fiber print
59,5*45.1 cm
ML/F 1989/42

T Rosemarie Clausen
Marcel Marceau,
1964

Gclaitn silver print
58x45 Urn
ML/F 1989/40

After first studying art. Rosemarie Clausen began an apprenticeship | n
photography in Berlin in 1925. She took a special interest in the theater
and until 1933 worked with theater photographer Elli Marcus. She soo n
became a familiar person in theater circles, having the opportunity t
photograph the great actors and actresses of her time. She established
her own studio and worked primarily at the state playhouse at the Gen-
darmenmarkt, where Gustaf Grundgens became the director in 1934
In 1938 she published her first picture book, People Without Masks, in
which she presented her theater photography. After the end of the war,
Rosemarie Clausen moved to Hamburg, where she practiced photo-
graphy at the Hamburg Studio Theatres, at the Theater in the Room,
and in the German Playhouse. In 1947 she met the playwright Wolfgang
Borchert and photographed the premiere of his play The Man Outside
in the Hamburg Studio Theatres. In 1968, Samuel Beckett staged his
Endgame on the workshop stage of the Schiller Theater in Berlin. Rose-
marie Clausen photographed that play in dim light, in many gradations

of grainy gray values, occasionally
applying unsharpness.

Rosemarie Clausen's work
stretched over more than half a
century, largely elevating theater
photography into a concept of its
own. She worked in two of the
most important theater centers of
Germany, over the decades photo-
graphing and interpreting many
great actors in the most diverse
roles. Her pictures are optically
frozen moments of thespian po-
etry, with a profound sensitivity
for the expressiveness of human
mimicry. UP

110 I Clausen

Clausen [ 01

Clergue, Lucien

1934 Aries
Lives in Aries

* Lucien Clergue
Bullfight, around
1960

Gelatin silver print
24.-jx37.2r.rn
ML/F 1984/23

Cfuber Donation

After finishing high school, Lucien Clergue began to take pictures in his
spare time. In 1954, he had his first public exhibition with 50 portraits of
actors, all of them impersonating Julius Caesar. Next he produced a
series of photographs of traveling acrobats, taken in the wartime ruins
of Aries, and a series of pictures of dead animals. In 1956 he started his
series Nudes of the Sea which made him known around the world. They
represented a novel interpretation of bodily shapes and of the treatment
of surfaces in combination with water and light. By candidly staging
eroticism in his pictures, Clergue furthermore openly broke with the tra-
dition of prude rendition of nudes that dominated photography in the
fifties. He did not place chaste young women in the landscape, neither
did he aim for the usual untouched landscape and untouched feminin-
ity. Instead he used water, light and waves to impart a sensuous radi-
ance to the female body. In 1957 he illustrated the book Memorable &
Ies by Paul Eluard. In 1959 he began his intensive photographic study
the Camargue, its swamps, plants, and its waters. In this subject, too
he bridged the distances to the objects, creating an extraordinary if™
diacy of things in his pictures. He also worked on a photographic se
about the topography of Aries, and he kept a daily photographic log

rUl den Clergue

fromrt

the Sea,

pound

- 5 cm
W5r"9
LlweScbeid
h nation

Jean Cocteau's film "The Testament of Orpheus". Over a period of many
years, he used his camera to observe Picasso at work, and he also pho-
tographed bullfights in the arena, In 1961 he took many trips abroad and
decorated a hall in the Rockefeller Center in New York. In 1962 he visited
Brasilia and Rio de Janeiro, beginning a new series of his Nudes of the
Sea. In 1971 he made a film for his friend Pablo Picasso for Universal

:tures. In 1970 he founded the Rencontres Internationales de la Pho-
tographie in Aries, which he served as artistic director for 25 years. The
ncontres Internationales de la Photographie were captivating because

' liveliness and freshness, which were greatly enhanced by the
Jaint southern charm of the city of Aries. He has been teaching at the
rsity of Marseilles since 1976. In 1979 he became the first person
receive a doctor's degree in photography, and since then he has been
ltn g at the New York School for Social Research. In 1980 he was
i "Knight of the National Order of Merit" of France. RM

112 I Clergue

Clergue 1 115

Coburn,
Alvin Langdon

1882 Boston
1966 Colwyn Bay,
North Wales

► Alvin Langdon
Cob 11 m

St. Paul's Cathedral
from Ludgate Circus,
around ige>5

Photogravure
38.2x28.6 cm
ML/F 1977/183

Cruber Collection

114 J Coburn

" Alvin Lang^
Coburn

Semi -nude,
around ig<jr

PhotoffavMi

&S* 10.3 cm

ML/F , 9 g 4/2i)

Gfiiber Dor, 3C | 0r ,

Alvin Langdon Coburn belongs to the generation of photographers who
brought about the change from the pictorialism of the 19th century to
an avant-garde-oriented style of photography.

It was during a visit in 1899 to a distant cousin in London, art pho-
tographer Fred Holland Day, that Coburn became definitely fascinated
with photography. As early as 1902 he opened his own studio in New
York. There Coburn became acquainted with Alfred Stieglitz. in whose
magazine Camera Work he published some of his photographs as
photogravures. Through the circle of artists around Stieglitz. Coburn
soon became familiar with the avant-gardistic trends of the art. Inspired
by that trend, he began to explore new forms of expression with photo-
graphy. He experimented with extreme perspectives and developed a
strong interest in structures and abstract formations. In 1912 he left
New York and went to Great Britain, where he remained to the end of
his days. There he had friendly contacts among members of the English
group of cubists founded by Ezra Pound and called "Vorticists".This
connection inspired Coburn's "Vortographs", in which he achieved a
cubist fragmentation of forms by using reflecting prisms.

In addition to his avant-garde creativity, Coburn also made a name
for himself with portraits of famous contemporary personalities, which
he published in 1913 and 1922 in his two volumes entitled Men of Mark.
MBT

Coburn 1 115

k

{/iM^v 4-*^-

116 I Coburn

A Alvin Langdort Coburn
London Bridge, igo;;

Photogravure, 12,2 x to cm
ML/F 1993/165
C ruber Donation

A Alvin Langdon Coburn
The Bridge at Ipswich,
around 1904

Photogravure, 19.4 v 15 cm
ML/F 1995/7

r.rnhei-nnnplinn

Coburn ( 117

Cohen, Serge
Moreno

1951 Portes-les-
Valencc, France
Lives in Paris

< Serge Moreno

r Serge Moreno

Cohen

Cohen

Marie-]o Lafonlalne,

1 Avedon.

1991

Color prim

Gelatin siWcf print

40.JX32.6 cm

lfSx3°^ cm

ML/F 1993/168

ML/Fi99')/ l2 'I

Gruber Donation

Gruber Donation

Aside from a six-month period as an assistant to Daniel Frasnay in
Paris, Serge Cohen is a self-taught photographer. After various auxiliary
jobs and a few black-and-white assignments for the supplement of the
Frankfurter Allgemeine Zeitung, he had the opportunity of proving his tal-
ent to art director Willy Fleckhaus. In 1982, bis first picture essay was
published in the Frankfurter Allgemeine Magazin, for which he has since
become a staff photographer.

Cohen is active in architectural and landscape photography and in
photojournalism, but it is his staged portrait photography that made
him famous. He succeeds in creating a portrait that stays on one's
mind and that remains associated with the sitter. He provokes by de-
picting the sitter in roles that spring from his imagination after an in-
tense study of his subject. UP

•* Serge Moreno
Cohen

lasper Johns, 1586

Color print
ij.'f 1140.4 cm

ML/F 1993/169

Gruber Donation

118 I Cohen

Cohen hit

.v<: v-,

Colette

1947 Tunisia
Lives in New York
and Munich

a Colette

Real Dream, 1975

Mixed medio
Si x 197 cm

ML/F 1994/1

Uwe Scheicl
Donation

Colette began painting while she was still in her youth. In the year 1970
she completed her first performance with Hommage a Delacroix, which
was the beginning of an artistic career devoted to the oneness of art and
life. Then came street works, actions and performances on streets and
public squares, followed by her "living environments" and the "win-
dows", in which she remained motionless in a selected pose with an
elaborate arrangement of fabrics and lace. Her titles were Cinderella's
Dream, Rag Doll or Justine as Joan of Arc. Meanwhile, her home became a
"living environment". There her activities produced sculptures, objects
and photographic works that should not be regarded as relics of those
activities, but as parallel developments. Colette is unquestionably a
multi-media artist who assumes various roles of historical women for
certain phases of her work, which she then combines directly with her
everyday life. Colette has convincingly implemented Marcel Duchamp*s
idea of aesthetic behavior throughout her entire artistic career. In rece
years, she has withdrawn somewhat from performance art, working
more intensively in the fields of object art, painting, and photographic
work. Some of her more recent themes have been Call C for Scandal,
Mata Hari and the Stolen Potatoes or The Bavarian Adventure. Her "Ma
Code", which threads through her artistic work like a credo, simultan-
eously signals her personal creed: "T M. for Deadly Feminine". RM

p Stephen

0. ColNou"

UUgW

^ Cup. aro^d

19B

r wr print

Jf , 7 i." :
ULjf '977/9°'

Grobw

Stephen D. Colhoun's career as a professional photographer began in
1950. He soon became a well-known glamour photographer for leading
magazines and advertising agencies. His advertising assignments
ranged from watches to automobiles, but he became best known for his
fashion photography.

Colhoun's photograph Laughing Woman with Cup was taken for an
rtisementfor brassieres. While the fore- and background are pleas-
oiurred, a band of sharpness diagonally traverses the center of the
Jr e- Here we see the neckline of a woman, with her head leaning
so far that only her wide open, laughing mouth is visible in the pic-
.' . in 8 en ious contrast between sharp and blurred areas, visible
ldden ele ments place the observer in the role of a voyeur. MBT

Colhoun,
Stephen D.

Bom in 1921

120 I Colette

Colhoun 1 121

Cosindas,
Marie

Born In Boston,
Massachusetts
Lives in Boston

T Marie Cos indas

Snl! Life willi
Flowers, 1976

Polaroid
74 V igtrr\
ML/F 198^26

Giubcr Donation

Marie Cosindas studied design at the Modern School of Fashion Desj
in Boston and painting at the Boston Museum School. From 1945 to
1960 she worked as an illustrator and designer. In 1960 she established
herself as a photographer in Boston. She attended photography work-
shops conducted by Ansel Adams (1961) and Minor White (1963/1964)
In subsequent years she herself taught courses in photography, includ-
ing the Colorado College Summer Photo Workshops in Colorado
Springs from 1972 to 1978, and she also taught at various American
Institutions.

As a trained painter, it was in keeping with Marie Cosindas' tem-
perament to be intrigued by color, so that it is not surprising that she
took up color photography at a time when black-and-white photography
was still the favorite with most photographers. She began experiment-
ing with this medium in the early sixties and sought to achieve the
greatest possible brilliance and perfection with colors. She dispensed
with artificial light, used various filters and experimented with different

developer times and temperat-
ures. In 1962, Marie Cosindas
became one of the first photo-
graphers to explore the possibilit-
ies of Polaroid instant print ma-
terial successfully. She was always
very meticulous with technical
aspects of her work. Cosindas
paid the same painstaking atten-
tion to her compositions, which
she organized to the last detail.
Her portrait sessions became
known for her thorough familiar-
ization with her subjects and for
the quality of the resulting por-
traits themselves. In addition to
human faces, Marie Cosindas
was fascinated by old dolls,
masks and fabrics, which she
arranged in romantically enchant-
ing still-life tableaus. MBT

Carel Cudlin studied social law before entering the College for Film and
Television (FAMU) in Prague. From 1988 to 1989 he was a staff photo-
journalist for the weekly newspaper Mlady Svel, and since then he has
sn working for picture agencies in Prague and in Paris, In 1989, Cud-
used his camera to record the mass exodus of citizens of the Ger-
3n Democratic Republic, and he documented the crowds at Lobkovitz
ice. the West German Embassy in Prague. His photographs show
,e ople helping one another to climb over walls, they show the draining
state. In his photographs of the "velvet revolution" in Czechoslo-
n Member 1989, Cudlin concentrated on gestures of solidarity
nents of poignant symbolism, such as the removal of a Soviet
m a building, or the cutting of barbed wire at the Hungarian bor-

m has a keen sensitivity for the power of expression of certain
J and actions, and he has a refined talent for conveying this in
ms Photographs. RM

Cudlin, Carel

i960 Prague
Lives in Prague

A Card Cudlin
At the German Em-
bassy, Prague, 1989

Getollrt silver prmi
ML/F 1990/1326

122 I Cosindas

Cudlin [ 123

Cutfbrth, Roger

i944 England
Lives in Terlingua,
Texas

a. Roger Cutfbrth
Bighorn Canyon,
Montana, 1978

Color print
3 phoiography
each 61.? x 61.2 cm
ML/F 1979/^54 Ml

Roger Cutfbrth studied at the Nottingham College of Art from 1962 to
1966 and at the Ravensbourne College of Art from 1963 to 1966. After
emigrating to New York he taught drawing and photography at various
colleges.

Cutfbrth created his first photographic sequences in the early severi-
ties, calling them Personal Space. With the size of the figure remaining
unchanged, he enlarged the surrounding field in order to demonstrate
the proportional relationships among things, In films that he made be-
tween 1973 and 1975, Cutforth conducted similar investigations of the
relationship of human beings with the image space surrounding them.

In 1977 and 1978, Cutforth continued to utilize the medium of pho-
tographic sequences for his landscape photography. He sough! out
hard-to-reach locations in the American west, far removed from civiliza-
tion. There he photographed a particular part of the scenery at different
times of the day, usually early in the morning, at noon and in the early
evening. His sequences always consisted of three landscape photo-
graphs with identical cropping. The appearance of the landscape is
different in each picture as a result of different lighting conditions, but
because of the identical cropping, the information about the formation
of the landscape remains unchanged. By means of such a juxtaposit'O
of the changed and the unchanged, the observer is stimulated to com-
pare nuances and variations that are to be discovered especially in tn
changes in color, shadows and light. Unlike a motion picture, such a

photographic sequence does not convey a seamless description

of the

evolving scene. The charm of the photographic sequence lies more
the intervals of time between exposures, which serve to enhance
illustration of the passing of time by means of changes in the ren
of the subject. MBT

After an apprenticeship in photography, Bruce Landon Davidson stud-
ied photography at the Rochester Institute of Technology in Rochester,
NY in the early fifties. Following that, he studied painting, philosophy
and photography under Herbert Matter. Alexey Brodovitch and Josef
Ibefs at Yale University in 1955. After that he worked as a freelance pho-
jrapher in New York, Paris and Los Angeles, serving such interna-
«nal magazines as Live, Esquire or Vogue. He has been a member of

Magnum" group since 1958, and he also teaches at a variety of in-
stitutions.

avidson concerns himself with subjects of everyday reality. He
graphs drug addicts and criminals, and he documents street
■ 5 and demonstrations. He followed the changes in America during
Wties and early sixties with great empathy. He had a special in-
oeial groups like the beatniks, precursors of the hippies with
uona! attitudes, in suburban environments and other contem-
u jects. Davidson's photographs convey impressions that are
rf,ca l of our times. UP

Davidson,
Bruce Landon

1933 Oak Paris.

Illinois

I ives in New York

A Bruce Davidson
Young Couple, 1358

Gelatin silver print
16.9 x 24.? cm
ML/F 1977/909
Grubei Donation

124 I Cutforth

Davidson | 125

Dekkers, Cer

(Gerrit HendHk
Dekkers]

1929 Borne,
Netherlands

Lives in Cielhoorn

Gerrit Hendrik Dekkers studied at the Art Academy in Enschede in the
Netherlands from 1950 to 1954. Before that, he served in the Dutch
Army in Indonesia from 1948 to 1950. In 1954 he married Hilda Hart-
suiker, with whom he had two children, Henriette and Jose\ Between
1954 and 1976, he worked as a freelance artist in Enschede, and since
then in Giethoorn,

Dekkers first attracted public attention in 1969 with an exhibition of
his precise, sober landscapes at the Stedelijk Museum in Amsterdam.
In 1971 he started his serial photography, which enabled him to depict
evolving events. These photographic series can illustrate changes in a
cultural landscape that are due to the intervention of mankind, but they
can also illustrate spatial shifts such as a change of the artist's position
within a given space, or the clarification of scenic relationships. To ac-
complish this, he uses the square format and color photography, com-
pletely dispenses with the presence of any human beings, and positions
the horizon precisely in the center. In a horizontal arrangement of the
pictures, the horizons line up, forming a continuous line that traverses
all the pictures. When the photographs are arranged in a square field,
he achieves a regular image pattern that pervades the entire picture
arrangement, Dekkers utilizes this method of pictorial recording, which
dispenses with subjective decisions and which always abides by these
established rules, and he focuses on the cultivated landscape of the
Netherlands, on tree plantations, hedges, fields, gardens and dikes.!
alignments and the perspective of regularly stepped rows cause the
server to be consciously aware of the landscape and to study it- l« P a
ticular the new polders, which were created entirely by human hands,
provide Dekkers with manifold possibilities for analysis. The polder 1
for all intents and purposes, paradigmatic for cultivated landscape-

Orchard near Emmeloord, photographed in the first of the new polders,
which the original plan called for the Ijsselmeer to be completely
drained in a series of steps, is one of the best known examples of these
alignings. It is symmetrical around an axis, both in the horizontal as
well as in the vertical direction, the only difference being that a row of
•rees, parallel to the horizon, moves into the picture in seven steps from
left to right.

Dekkers' art can be classified as lying somewhere between concep-
tual art and land art, with photography being utilized with a documen-
tary purpose. But since Dekkers arrived at such a concept from a back-
ground of photography, he places significantly more emphasis on the
echnical perfection of his photographs than many of his artistic col-
leagues. Dekkers 1 work proves that the differentiation between artists
who make photographs and conceptually working photographers can
longer be defined, and that it can only be established biographically.
In his own work, he distinguishes between series that show a close
onship to land art, because they depict situations in which the soil
obviously been cultivated and altered by human hands, and other
>tographic series, which he regards as "objets trouves" in the context
Escapes. But it is only through his photography that we become
of them and acknowledge them with their sometimes surreal ap-
nce - In spite of the occasional determinisms that are a priori in
endeavors, his work is not guided purely intellectually by re-
'ought processes. He is enough of a photographer to accept
1 perception as the second important axiom of his work and

•sual experience precipitate the decision for a particular pic-

* subject, rm

A Ccr Dekkers

Orchard near
Emmeloord. 1974

Cofor print
Jo x 50 cfn,
ollogethcr 50 x 350 c m
ML/F I9S5/35

126 I Dekkers

Dekkers 1 117

* Efwiti von
Dessauer

Children or| ^

7 ***5Jon

183/18J

Dessauer,
Erwin von

1907 Valparaiso,

Cli.k'

1976 Rio de Janeiro,

Brazil

Erwin von Dessauer studied photography under Willy Zielke at the
Bavarian State College for Photographic Imaging. In 1933 he accepted
an offer from a magazine to settle in Rio de Janeiro. His photographs
depicting the life of simple people were created during numerous trips
across the South American continent. It is evident from his photo-
graphs, especially from his pictures of religious ceremonies like
macumba, that he had a talent for being accepted by people. He was
particularly interested in genre portraits, which he produced on an ex-
tensive scale for the "Ballet Folkl6rico Brasileiro". It can be detected in
many of his photographs that his eye was trained by a master of object
photography. In spite of their seemingly incidental nature, photograph
like At the Water and Children on the Beach are composed with great pr
cision. RM

128 I Dessauer

A Erwin von Dessauer
At the Water, around 1939

Cetalin iilver print, )$ x 27 cm
ML/F 1983/181

Dessauer 1 129

Dibbets, Jan After studying to become an arts teacher at the Academy for Creative

1941 Weert

Lives in Amsterdam

and Constructive Arts in Tilburg, Jan Dibbets began his career as

malist painter in Amsterdam. In 1967 he received a scholarship to

a rninj.

turjy

in England. There he discovered photography and made it the mains
of his now conceptually oriented art, Still young at the time, the Dutch-
artist achieved international recognition with a series of photographs
entitled Perspective Correction (1967-1969). With this series, he ques-
tioned the illusion of perspective in paintings, at the same time chal-
lenging the notion that the camera cannot lie. One of the photographs
from this series, for example, shows a trapezoid that Dibbets had
painted directly on a white wall of his studio. But perspective distortion
in the picture makes the trapezoid appear as a square. With photo-
graphs such as this one, Dibbets assured himseif a place amongthe
spiritual fathers of photographic concept art - next to artists like John
Baldessari, Douglas Hueblerand Ugo Mulas.

One of the significant objectives of concept art is to illustrate a sci-
entific abstract notion in a descriptive, clarifying manner. This is to bring
phenomena of reality determined with a scientific method closer to the
direct range of human experience and perceptual capabilities. For Dib-
bets, the phenomenon of movement in and through time is the subject
of numerous works. Dibbets is concerned with the visualization of this
phenomenon, which, although it can be verified scientifically, is not
readily visible. Jean-Christoph Ammann wrote the following about this
artist: "Dibbets does not question reality in photography, he questions
the reality of photography itself. In doing so, he does not address the
object, but the 'way of seeing' of the camera [...]. For Dibbets, to un-
cover the seeing mechanism of the camera means to introduce a recog-
nition process that causes reality to be perceived as a photographic tea
ity, not as a surrogate."

In his photographic work Film-Painting: Black Vase Horizontal [W 2 )'
Dibbets moves a motion picture camera past a vase at a uniform dis-
tance. This movement, which takes places in a room in a timed se-
quence, is visualized objectively by the simultaneous display or trie
strip. With each new location of the vase within the picture area, its
ultaneously indicates the respective position of Dibbets as he mo
past the vase. r

The course of time and an action taking place during that cour
time are graphically illustrated by simultaneously showing -3"°

I I 1 1 1 t

I 1 i i i i I 1
I i i I I i I i
I 1 I I I I I I
I 1 I I i I i I

t 1 I 1 I t i I
i 1 t 1 J I I

I I 1 I I I

01 P° ssi hle in real time - the successive progression of a time se-
ence - ^ or Dibbets' artistic endeavors, the motion picture camera is
-d the role of a measuring instrument that records the slightest
3r >ges that occur in space and time. CC

A |an Dibbels
Film-Painting: 8:lack
Vase Horizontal.

80 photograph*
mounted an alu-
minum plates.
each 24 x 13 cm,
altogether

MgF 1985/36
Ludwig Donation

13a I Dibbets

Dibbets j 131

Dieuzaide, jean

ig2i Crervada-siH-

Garonne

Lives tn Toulouse

A Jean Dieuzaide
Nude in the Woods.
1975

Celatirt silver print
30,3 x 40-3 W
ML/F 1995/120

Uwe Scheid
Donation

132 [ Dieuzaide

jean Dieuzaide's career as a photographer began on the 19th of August
1944, when he took pictures of the liberation of his home town of
Toulouse. In 1945, he began working as a photojournalist for various
newspapers and weekly magazines. In 1951 he settled down as a photo-
grapher in Toulouse. His famous picture of the great surrealist Dah in
the Water, Cadaqu&s, was made during a 1953 trip to Spain.

During the fifties, Dieuzaide discovered his predilection for the
structures of things. His close-up pictures of sea mud, in which the
photographer found fascinating formations, became his most famou
photographs of this genre. In 1974 he published this series under the
title My Adventure with Tar. In 1963 Dieuzaide was among the faunae
of the "Libre Expression" group, which believed in "subjective pne
graphy" and in the ideas of Otto Steinert. Until 1981, Dieuzaide opera ^
a gallery in Toulouse, in which he provided a display forum for me
of the "Libre Expression" group. Dieuz
MBT

aide closed his studio in i9 86>

A Jean Dieuzaide

Dall in the Water, Cadaques, 1353

Gelatin silver print, p x 24.5 cm
ML/F 1984/31

Gruber Donation

Dieuzaide I 133

Doring-

Spengler,

Herbert

1944 Cologne
Lives in Cologne

"Herbert^
Spengler B

Untitled. i 990

Cibachrome
50-5* 50.5 cm
ML /F 1995/181
Uwe Scheid
Donation

Since the mid-eighties Herbert Doring, a self-taught photographer, has
been exploring the possibilities of the Polaroid. He began to make
notches in the fresh film and to separate the layers. He also combined
Polaroid with video, making references to art-historical models and
utilizing unusual materials. His method of working might best be de-
scribed as an attempt to break down the media at his disposal into then
component parts, to search out previously undiscovered elements, an
finally to recombine the whole. The blending takes place emotionally, ' n
the light of his feelings, not in accordance with any rational consider*
tions. He is one of the most creative personalities in his field, ever cap
able of springing a surprise, and always intent on moving on to new
ground. His pictures start out as simple photos or video sequences,
subjected to color changes, are captured on Polaroid, heated, rippe
apart, dried, in turn employed together with their new carrier as a
or re-photographed, finally to yield up a Cibachrome print. RM

r Robert Doisneau
Halles,
np.i95*

Zljf '977/2°9
affection

Originally trained as a lithographer, Robert Doisneau embraced in 1929

a new interest as a self-taught photographer. He regarded photography

as the ideal medium for recording life during his wanderings through

Paris. His career as a professional photographer began in 1934 at the

enault works in Billancourt, where he was employed until 1939 as an

ndustrial and advertising photographer. Also in 1939 he decided to be-

ie an independent photojournalist, but still in that same year the war

ced him to give up his dream of becoming a freelance photographer.

Ser ved in the French army until 1940, and from then until the end of

">e war, he worked for the resistance. Even so, he did not entirely inter-

"is work as a photographer. Instead, he tried to earn a little money
°y Produc

fashion

■icing postcards. In 1949, Doisneau signed a contract with the
magazine Vogue, for which he worked as a full-time staff photo-
er untl1 ^952 and from then on as a freelance photographer,
his activities for Vogue, the photographer became acquainted
"•-society circles, for which, however, he did not have as much
'y a s he did for the common people in the streets. He also did

Doisneau,
Robert

1912 Gentilly
near Paris
1994 Paris

134 I Doring-Spengler

Doisneau | 135

136 I Doisneau

A Robert Doisneau
The Bride near
Gegene, 1948

Gelatin silver print
30.5 x lyqcm
ML/F 1977/204

Cruber Collection

, Robert Doisneau

Hell.
.deClichy,

ver print

y>4 t2 * cm
UL/F 1977/ 2 "

election

erthe annals of photography as a fashion photographer. What
3'isneau famous was his "street photography". In countless
^s, he humorously, but not without empathy, documented life
'"** suburbs of Paris.

suited in a number of photographs that have become icons

way of life. The most famous example is the Kiss in front of
'City Hall, which has been reproduced by the million, and
than any other picture became the symbol of young, bois-
ln a big city. As a "street photographer", Dois

isneau was on

Doisneau 1 137

A Robert Ooisneau
Pablo Picasso in Val-
lauris with Francoise
Giiot, around 1950

Gelatin silver print
31. 9* 18.9 cm
ML/F 1977/213

C ruber Collection

,. Bobert Doisneau
^ Utile General.

•950

G&w

'

, 9 cm
-7/215
Collection

I same level as BrassaT, Willy Ronis and Izis, with whom he shared a

exhibition at the Museum of Modern Art in New York in 1951. Like

s ai. Doisneau loved to wander through the streets of night-time

1 order to record the life of marginal society. It was during such

y excursions that he made the well-known photograph of the hobo

3 failed soldier of the Foreign Legion, and the photograph of a

,rl <er lying on his bed dreaming of the pin-up girls of his wall

n s- Doisneau himself called this picture a parody of a mascu-
" ner "an. MBT

138 J Doisneau

Doisneau | 139

140 I Doisneau

▲ Robert Doisneau

Dreams of a Tattooed Man, 1952

Celalin silver print, 27.3 x 23.9 cm
ML/F 1977/205

Gruber Collection

At the beginning of this century, when Dora Kallmus, who later worked
under the name Madame D'Ora, decided to become a photographer,
lis was an unconventional choice of profession for a woman from her
acial level. That is why she was only permitted to take courses in theory
e Graphic Education and Experiments Institute in Vienna, and she
not allowed to take practical courses. In spite of this obstacle,
Jme D'Ora decided to open a studio in Vienna. She learned the
nentals of portrait photography from Nicola Perscheid in Berlin.
7. together with Arthur Benda, whom she met at Nicola Per-
s place in Berlin, she opened her studio in Vienna. Benda took
ie technical part of photography. Madame D'Ora dedicated her-
e arrangement and the staging of the photographs, for which
Hen T mf1uenced b ythe Viennese Art Nouveau. In 1917 Benda de-
5 "s that softened the contours in a picture. This soft-focus
m e a trademark of Madame D'Ora's early photographs,
etimes gave the impression of having been taken through a
iS p(ate - Sr >e continued to use this technique when she
st udio in Paris in 1924. It was only after the Second World War

Madame D'Ora

(Dora Kallmus)

1881 Vienna
1963 Frohnleiten,
Styria, Austria

A Madame D'Ora

Rosella Hightower,

'955

Gelatin silver print

ML/F 1984/32
Gruber Donation

D'Ora 1 141

A Madame D'Ora
Marquis George de
Cuevas, 1955

Gelatin silver print
25.5 x 26.3 cm
ML/F 1977/222

Cruber Collection

that Madame D'Ora changed from soft focus to precise sharpness. She
used this new technique between 1953 and 1955, when she produced an
extensive series of photographs of the Marquis de Cuevas and his dance
theater.

There was also a change in her choice of subjects after the war. S
was no longer interested just in glamour and the good life. For instan
she took her camera to Paris slaughterhouses. Fascinated by this so
ject, she sought to create abstract views of it, arranging it in virtual y
poetic still-life compositions. MBT

.^eD'Ora
;eorgede

, ^955

j^, print

,77/"'
flection

142 I D'Ora

D'Ora 1 143

Ff anti§ek

D *ikol

Drtikol,
Frantisek

1883 Pribram.
Bohemia
1961 Prague

--'»",e. , 923
Bromoil print

ML / F 1 98 4 /3 4
Cruber Donatio

► ^ntisek Drtikol
Nude, around 1920

Gelatin silver prim
11-8x8 cm
ML/F 1993/172

Gruber Donation

FrantiSek Drtikol was one of the most famous photographers of the
twenties and thirties in the former Czechoslovakia, and he also enjoyed
an international reputation. His work was largely forgotten after he gave
up photography in 1935, only to gain renewed recognition in the early
seventies.

From 1901 to 1903, Drtikol enjoyed a well-founded education at the
Bavarian State Institution for Photography in Munich. In 1910, after
completing his military service and after spending three years in
Pribram, Drtikol went to Prague, where he experienced public recogni-
tion of his work for the first time. Drtikol specialized in portraiture and
nude photography, showing himself stylistically influenced by Romanti-
cism and Symbolism. It was during this period that the feminine figure
of Salome first appeared in his photographs, which continued to fas-
cinate him during his entire work. During the twenties, Drtikol's style
underwent significant changes: he began to emphasize and arrange
space with man-sized geometrical forms, he developed the creative
possibilities of light into virtually expressionistic dramaturgy, and he |
duced his nudes to torsos or individual limbs. MBT

144 I Drtikol

Drtikol 1 145

Edgerton,
Harold E.

1903 Fremont,
Nebraska
1990 Boston

•* Harold

E - Edgerton

Milk Drop. , 935

Celotin silver pj,
39-5 < 49o cm
Ml / f '977/J2 9
Cruber Collect!.

Harold E. Edgerton studied at the University of Nebraska from 1921 to
•1925 and at the Massachusetts Institute of Technology in Cambridge,
MA from 1926 to 1927, where he began to teach in 1928. As an inde-
pendent photographer he developed stroboscopic photography of high-
speed kinetic action. A large number of his photographs became mile-
stones of "high speed photography" and he received numerous inter-
national awards.

Stroboscopic photography is a technique for capturing and depict-
ing kinetic action and timed events in distinct steps. Edgerton used
strobe flash for recording fast action on film. The photographs were
made in a darkened room, using numerous exposures per second,
also became a scientific tool, because it made the fine details of sucn
fast-occurring events become visible for the first time.

One of Edgerton's most famous photographs is his Milk Drop,
which shows the delicate, crown-shaped form created by a milk drop
when it strikes a thin layer of milk on a plate. A physical event that is
miliar to scientists is transformed into a liquid sculpture that can
be made visible by means of Edgerton's photographic technique.

146 I Edgerton

▲ Harold E. Edgerton
Tennis Player, 1938

Gelatin silver print
24 x '9 cm
ML/F 1977/224

Gruber Collection

Edgerton 1 147

Alfred Eisenstaedt was only 13 years old when he began taking pictures
with a Kodak camera that he had received as a gift. During the inflation
period after the First World War, he made a living as a belt and button
salesman for a company in Berlin. In his spare time he practiced pho-
tography as a hobby and began to experiment with cropped photo-
graphic enlargements. His activities as a freelance photographer began
when his photograph of a female tennis player was published in the
'eltspiegel, followed by other publications in the Berliner Tageblatt. In
2 9. he decided to make photography his profession, and he began to
w ork for the "Pacific and Atlantic Picture Agency".

IS first assignment, a photographic report of the awarding of the
Prize to Thomas Mann in 1929, already earned him great recogni-
n ' Dur 'mg those years he made many portraits that became famous,
Personalities as, among others, Marlene Dietrich, George
ard Shaw, but also Joseph Coebbels, Hitler and Mussolini. In addi-
e also produced a report about the war between Italy and Ethi-
'e worked for the Berliner lllustrirte Zeitung and other tabloids
n Ber 'in and Paris.

Eisenstaedt,
Alfred

1898 Dierschau.

Germany

1995 Oak Bluffs,

Massachusetts

▲ Alfred Eisenstaedt
American Ballet,
1938

Gelatin silverprint
16.2 x 24.1cm
ML/F 1977/237

Cruber Collection

■4 Alfred Eisenstaedt
V-Day. 1945

Gelatin silver print
24 x 75 cm
ML/F 1977/242

Gruber Collection

148 I Eisenstaedt

Eisenstaedt 1 149

Marlen- ~

'928

lle Wch.

C«'«f» silver prift
3 4-7xi6.& cm
ML / F '977/^

Cr "ber Collection

Concerned about the political situation in Germany and hoping for
better work opportunities, Eisenstaedt emigrated to America in 1935 and
began working for Harper's Bazaar, Vogue and Town and Country. Eisen-
staedt arrived in New York just as Life magazine was being launched,
and he became a member of its full-time staff right from its beginning
in early 1936. Up until 1972, when Life magazine temporarily ceased pub-
lication, he had worked on more than 2500 assignments, and he pro-
duced photographs for more than 90 cover pages. As a photojournalis
Eisenstaedt was not specialized in a specific field. Nevertheless, his

photographs of people were the ones that earned him a place in photo-
graphic history. He not only photographed countless famous personal-
ities in politics and culture, but also unknown people in everyday situ-
ations. One of his most famous photographs is V-Day, a snapshot of a
passionate kiss during a victory parade of sailors on Times Square at
the end of the Second World War. Eisenstaedt is regarded as a pioneer
of available light photography, because early on he dispensed with flash
photography in order to preserve the ambiance of natural lighting. Peter
Pollack wrote the following comment about Eisenstaedt: "The strength
°f his photographs lies in the simplicity of their composition. Eisen-
taedt's portraits clearly reveal the spirit and the character of a person,
re gardless of whether that person is famous or unknown. The intimacy

n 's pictures make the viewer feel like a participant, as if he was pre-

1{ . standing next to the photographer."
Eisenstaedt was honored with numerous international awards and

counts among the most published photojournalists in the world. TvT

A Alfred Eisenstaedt
Mussolini in Venice,
13.6.1934

Gelatin silver print
19.7 x 24.4 cm
ML/F 1988/64

Cruber Donation

150 I Eisenstaedt

Eisenstaedt 1 151

Elsken,
Ed van der

1925 Amsterdam
1990 Edam

A Ed van der Elsken
Hongkong, i960

Gelatin silver print
37 x 40.5 cm
ML/F 1988/79
Cruber Donation

► A Ed van der Elsken
Girl Refugee,
Hongkong, i960

Gelatin silver print
15.8x13.4 cm
ML/F 1977/252
Gruber Collection

► Ed van der Elsken
Durban, South Africa,
i960

Gelatin silver print
2 3-9 x 30.2 cm
ML/F 1977/255
Gruber Collection

152 I Elsken

Dutchman Ed van der Elsken completed his studies of art in his home
town, later moving to Paris to work as a freelance photographer. He also
became a correspondent for a Dutch newspaper. Many of this politically
active photographer's socio-critical pictures and films were made during
a trip around the world. At first he worked only in black-and-white, tak-
ing up color later on. In a photographic series about jazz, created be-
tween 1955 and 1961, he did not use flash illumination, because he con-
sidered it important to preserve the atmosphere and the emotions of
the moment in natural light conditions. Elsken published Sweet Life in
1963, along with numerous photographic books about Amsterdam,
Japan and China. Elsken expressed the drama of social injustice in a pic-
torially concentrated manner with photographs like the one of the care-
worn, strained face of a Chinese girl, or the one of the South African
apartheid situation. Both with genre studies of the subculture of Am-
sterdam as well as the photographic short story Love on the left Bam,
Elsken expressed his interest in people on the margins of society, w
are never shown in representative reports about a country. LH

Elsken 1 153

Engelskirchen,
Hein

1908 Krefeld
1985 Krefeld

A Hein
Engelskirchen
Bayer-Uerdingen,
around 1965

Color print
29.4 x 40 cm
ML/F 1993/91

154 I Engelskirchen

After an apprenticeship in a home-weaving shop, Hein Engelskirchen
made a trip to Paris, during which he discovered the camera and thus
his later profession. After serving in the war, he was exceptionally admit-
ted to an examination at the handicrafts chamber, and he spent the rest
of his life as a successful photographer, creating illustrations for advert-
ising and for industry. Their richness in color, but also the combined
precision of detail and panorama-like overview, in particular of his
photographs of the Bayer-Uerdingen works, are reminiscent of a way of
seeing industrial installations that later became known worldwide, espe-
cially through the Becher school.

Engelskirchen worked with enormous energy, and he never sought
publicity. That is why some of his photographs, like Wallpaper Design^
are world-famous classics whose author is not generally known. His
estate was divided among the Kaiser Wilhelm Museum in Krefeld, the
Museum Ludwig in Cologne, and the archive of the Photographic
Academy in Leinfelden. RM

A Hein Engelskirchen
Wallpaper Designer,
around 1955

Gelatin silverprint
24.9 x 40.5 cm
ML/F 1993/97

Engelskirchen 1 155

Erben, Li

1939 Blauda,
Czechoslovakia
Lives in Munich

▼ Li Erben
Daoist Temple,
Mount Taishan. lc

Color print
30.3x23.8 cm
ML/F 1987/104

After a photographic apprenticeship with Stuttgart fashion photo-
grapher Walde Huth, followed by studies at the Institute for Photo'
alism, Li Erben began to photograph Munich life in its beergardens 01 "*
streets, in parks and in the hustle and bustle of its carnival. After th ^
she found her strength in the field of portrait photography of perso
ities from the arts, music and literature. She made portraits of Ins
Bergman and Liv Ullmann, Isabel Adjani and Roman Polanski, Fed ■
Fellini and Jane Birkin, Arthur Rubinstein and Marc Chagall. During th
time she met stage director Victor Vicas, whom she later married in
Paris. During her time in Paris, she worked primarily as a still photo-
grapher in movie productions, but she also continued making portraits
of actors, and she began working as an assistant stage director. When
her husband passed away, she became a stage director herself, and in

the eighties she specialized in in-
ternational co-productions. She
took advantage of her countless
trips to create pictorial reports.
Among these was the colorful
series about China and Chinese
life: people who camp in railway
stations, hikers on Taishu moun-
tain, old men who take their
caged birds to parks to let them
sing, the dense throng of cyclists,
rituals and processions. Li Erben
presents a lively image of China
in the mid-eighties, in its trans-
ition from communist uniformity
to the liberalization of customs.
Today she lives with the architect
Dieter Walz in Munich. RM

A Li Erben
Kufu, 1986

Color print
30.3x23.8 cm
ML/F 1987/108

■« Li Erben
The First of May in
Tiananmen Square,
Beijing. 1986

Color print
30.5x23.8 cm
ML/F 1987/99

156 I Erben

Erben 1 157

Eremin, Yuri

1881 Kasanskaja on
the Don
Died 1948

▼ Yuri Eremin
Street in Buchara
with Camels, 1928

Gelatin silver print
37.8x26.3 cm
ML/F 1992/121

Ludwig Collection

Parallel to the constructivist and realistic tendencies of the Russian
avant-garde, pictorial photography in the Soviet Union also enjoyed a
vival in the twenties. This was the time during which Yuri Eremin was
successful with his impressionistically poetic photographs. Trained as
painter at the Moscow School of Painting, Art and Architecture, he lat
dedicated himself entirely to photography. As a staff member of the
magazine Fotograf, which was published between 1926 and 1929,
Eremin was of the opinion that photography should be regarded as one
of the creative arts. He preferred to work with a soft-focus lens and
bromoil techniques, thus assuming a stylistic position that was contrary
to the photographic avant-garde of his country. Beginning in the mid-
thirties, Eremin was active as a reporter and correspondent for the ma-
gazines Izvestiya, SSSR na stroike, ("USSR under Construction"), Ogonek

and Smena. Eremin specialized in
the subjects of landscapes and
architecture, but he was also in-
spired by genre scenes of cities
during his extensive trips through
Russia and Western Europe.

In the photograph Street in
Buchara with Camels, Eremin
documented the oriental atmo-
sphere of this city in the south
of the USSR. With the view of a
street through a shaded archway,
Eremin imparted a special charm
to his picture: the darkened
figures and the portion of the
archway in the foreground create
a foil-like contrast with the bright,
sun-drenched background, en-
hancing the impression of dept
in the picture. MBT

Stefan Erfurt studied French literature at the Sorbonne in Paris from
1978 to 1980. From 1980 to 1981, he worked as an assistant in a photo-
graphy and video studio. From 1981 to 1987, he studied photography un-
der Professor Inge Osswald at the University of Essen. Since 1985 he
has been contributing regularly to the Frankfurter Allgemeine Magazin,
and also to Vanity Fair and to the Sunday Times. Erfurt stood out particu-
larly because of his unconventional photographic reports. He dared to
distance himself from the customary style of photojournalism and to let
motion blur become part of his pictures. In his view, the essence of a
'tfure lay not in the precision of reproduction, but in its expression of
m osphere and vitality. His search for the fusion of the moment with
^ subjective perception of the photographer found an incentive with
discovery of Polaroid instant imaging material as the medium best
2d to his interests. These large format images are even more ded-
ted to forever preserving the fleeting moment than his black-and-
whit e reportages. RM

Erfurt, Stefan

1958 Wuppertal
Lives in New York
and Berlin

A Stefan Erfurt
The Odeon, 1985

Gelatin silver print
25.6x37.7 cm
ML/F 1985/32

Erfurt 1 159

Erfurth, Hugo

1874 Halle on the

Saale

1948 Gaienhofen on

Lake Constance

^ Hugo Erfurth

° skafl <ofeosch kl

1927

Br °moil pr j nt
384x28.4 «„
ML ' F '977/26 7
Cr ^erCol| ection

*■ Hugo Erfurth

Mrs Schuller,
around 1930

OH Pigment print
49-3 x 33-3 W
ML /F '977/262

Cruber Collection

Hugo Erfurth was one of the most significant portrait photographers of
his time. In 1895 he began an apprenticeship under court photographer
Wilhelm Hoffert, and in 1896 he took over the Schroder Studio in Dres-
den. In 1906 the photographer purchased the Luttichau Palace in Dres-
den, in which he installed a studio for "modern and artistic photo-
graphic pictures", the so-called Erfurth imagery. Here he welcomed
personalities from politics, business and the arts as his clients.

Erfurth cultivated a rather sober style of portraiture. He usually dis-
pensed with characterizing or decorative settings, choosing instead to
concentrate entirely on the face of the sitter.

In 1934 he moved to Cologne and opened a studio that was des-
troyed during the 1943 bombing raids on that city. After the war, the
photographer retired to Gaienhofen on Lake Constance. MBT

160 I Erfurth

Erfurth 1 161

, M*»'

162 I Erfurth

A Hugo Erfurth

Mrs Fahndrich, around 1930

Oil pigment print, 48.8 x 38.3 cm
ML/F 1977/258
Cruber Collection

, Ernst

!3W around
C^t.rtS.WP""'

uU f ,984/37
C^ber Donauon

The artist Max Ernst studied philosophy, psychology and art history in
Bonn. In 1919 he was a co-founder of the Dada movement in Cologne,
and in 1921 he joined the surrealists of the Paris avant-garde under
Andre Breton. Ernst utilized a great variety of techniques to express his
visions, among them collages, scraping, decalcomanias and oscillation,
mst invented the frottage (rubbings), which makes chance the liber-
>r of fantasy. He discovered this technique by accident when he trans-
fed the texture of a wooden floor to paper by rubbing it with a pencil,
ncorporated this picture fragment in his work and subjected it to
h 's creativity.

A process that constitutes a combination of drawing and photo-
P nv is the cliche verre, which is a handmade glass cliche that is
-° and reproduced with light. Ernst also utilized this technical
var 'ation of the etching. UP

Ernst, Max

1891 Bruhl
1976 Paris

Ernst 1 163

"W^er Ev ans
Children in A!ab an=
1936

Gelatin silver pri nl
iS x 32 cm
ML /F 1984/39

Gruber Donation

Evans, Walker

1903 St. Louis.

Missouri

1975 New Haven,

Connecticut

Walker Evans, who originally wanted to become a writer, discovered his
passion for photography at the end of the twenties. He began his career
as a photographer with picture series about Victorian architecture in
America and a reportage about the political unrest in Cuba in 1933. His
early work already exhibited his objective, highly detail-conscious out-
look, which was to earn him his fame as one of the most talented docu-
mentary photographers of his time. He himself described his photo-
graphs as "documentary in style", and he gave himself the challenge of
maintaining the purity of the art of photography. In October 1935. Evans
joined the Farm Security Administration (FSA), which was a federal au-
thority during the Roosevelt era that developed aid programs for situ
farmers and tenant farmers during the years of the Great Depression,
this project, photography was used as evidence, documenting the a
poverty of the rural population for dissemination to a broader pu
a project that combined political and socio-critical, documentary an
aesthetic interests in an unprecedented manner. His efforts fo
became the most important segment of Evans' work. Using tr sa
objective precision with which he had earlier photographed th

r «alker Evws
a, '936

, i&9 cn>

J84/38

Cuber Donation

rin g this period that he made the photograph of the skeptical but
rm worker who appears in the picture entitled Louisiana, as wel
riotograph of the two children dressed in meager rags who ap-
le P h °tograph entitled Children in Alabama.
^38, one year after Evans had finished his work for the FSA, the
1 of Modern Art in New York honored the achievement of this
h er with a solo exhibition, the very first that this museum
ated to a Photographer. MBT

ture of his country, Evans was now recording the life of the po<

It was

164 J Evans

Evans 1 165

Fehr, Gertrude

1895 Mainz
1996 Territet,
Switzerland

► Gertrude Fehr
Solarised Torso,
around 1935

Gelatin silver print
41 x 29 cm
ML/F 1987/158

▼ Gertrude Fehr
Odile, around 1940

Gelatin silver print
20.3 x 25.5 cm
ML/F 1987/159

Gertrude Fehr studied photography in the studio of Eduard Was
at the Bavarian State Educational Institute for Photography in M ^
She then operated a studio for theater and portrait photography " u
Schwabing area of Munich until 1933. During the Third Reich era h ?
moved to Paris, where she and her husband, the painter Jules Feh
opened their own school of photography, which they called PUBLI-' h
Influenced by the Paris art scene, with which she maintained close
tact, she began to experiment. She was particularly fascinated by the
work of Man Ray, which motivated her to work with techniques like s I
arization, collages and abstractions. In doing so, she ventured into a
type of work that is extremely unconventional for professional photo-
graphers. When the circumstances of war forced her to close the school
she clung to the idea of a photographic school and, immediately follow-
ing her move to Switzerland, she founded a new school for photo-
graphy, which she called "Ecole Fehr".

In 1945, she turned the school over to the public domain repres-
ented by the Ecole des Arts et Metiers in Vevey, where she continued to
teach for another 15 years. Gertrude Fehr radiated a great influence as a

teacher. Among her pupils were
such successful photographers as
Monique Jacot, Yvan Dalain and
Jeanloup Sieff. Since 1960,
Gertrude Fehr has limited her
work to freelance photography,
devoting herself mostly to portrait-
ure. In Germany, her work re-
mained forgotten for a longtime.
Exhibitions in the City Museum of
Munich and at the Museum Lud-
wig in Cologne brought it back to
the attention of the German pub-
lic. Gertrude Fehr remained active
into her advanced age and even
changed residence and studio
once again at more than 9° y earS
of age. She died in 1996 '" Tern ' et
near Montreux, Switzerland. K

166 I Fehr

Fehr 1 167

■« Gertrude Fehr

Threepenny Oper,
Munich, 1933

Gelatin silver print
28.8*13 cm
ML/F , 9 8 3 / 192

► Certrude Fehr
Hans Arp. around
1950

Gelatin silver print
28.7 x 22.4 cm
ML/F 1983/195

168 I Fehr

Fehr 1 169

Feininger,
Andreas

1906 Paris
1999 New York

▼ Andreas Feininger
Detail of a Bivalve
Clam, around 1972

Gelatin silver print
34.5 x27 cm
ML/F 1993/185

Gruber Donation

Andreas Feininger spent his youth in Germany, where he studied atth
Bauhaus in Weimar and at the State School of Architecture in Zerbst
At first he worked as an architect in Dessau and in Hamburg, but toward
the end of the twenties he began to be interested in photography. Hj s
first publications about photography appeared in 1930. In 1932 Feinin-
ger emigrated to Paris, where he initially worked for Le Corbusier. Later
on he founded his own company for architectural and industrial photo-
graphy in Stockholm. In 1939 he moved to New York and devoted him-
self entirely to photography. He worked for Life magazine and was con-
sidered to be one of the founders of contemporary photojournalism.
After that period, he concentrated exclusively on the publication of his
own books.

Feininger has a unique way of combining picture contents with
formal criteria such as structures, picture composition and perspective.
His photographs of New York are always structured architectonically,
conforming to the rectangle of the picture, and never seeming like views

through a frame. The basic prin-
ciple of his photographic work is
especially evident in the example
of picture composition, which he
himself describes as "clarity, sim-
plicity and structure". But he
simultaneously demands that pic-
tures must say something to the
observer. To him, technical per-
fection is never an end in itself.
Photographs like New York,
Cruiser United States (1952) or
New York, Midtown Manhattan
at 42nd Street (1947) convey his
architectonic outlook, the rigor-
ous structure and the intensity
of his pictures in a powerful **
In his photojournalism wo

for Life magazine, Feininger ^
placed particular emphasis ^
judicious combination of

:ording to Feininger, the story has to be told by the pictures them-
selves, so that the accompanying text can be reduced to a minimum. If
ontent is the prerequisite for a picture, then its organization and its
Dsition determine its quality. Feininger himself observed this fun-
ental principle of journalistic work during his many years at Life
ne, thus helping to shape the image of this publication.
1ir "ger's photography covers the entire spectrum of photographic
om lively street scenes to carefully composed city views, from
fact landscapes to minute details of plants, stones, shells or
■ He masters the narrative as well as the strictly composed

our/-!' and he accom P''shes the blending of both criteria in his photo-
rnal 'st.c reports. R M

a Andreas Feininger
New York. Entrance
to a Discotheque,
around 1964

Gelatin silver print
26.5 x 34.1 cm
ML/F 1993/193

Gruber Donation

content and picture exp

ressior*'

170 I Feininger

Feininger 1 171

A Andreas Feininger
New York, Cruiser
United States, 1952

Gelatin silver print
26.7x34.2 cm
ML/F 1993/192
Cruber Donation

► Andreas Feininger
New York. Midday,
around 1964

Gelatin silver print
26. 6 x 34 cm
ML/F i993/>9'

Cruber Donation

* Andreas Feininger
New York, Midtown
Manhattan at 42nd
St'eet. 1947

■■'cr print
2 cm
l93/>90
c 'uber Donation

* A "dreas Feininger

**. Brooklyn
2 "dge, ,948

*rprim

^ /F '993/195

Crgbe ' Nation

Feininger 1 173

Felber, Cina Lee

1957 Zweibriicken,

Germany

Lives in Cologne

Gina Lee Felber, a graduate of the Technical College of Cologne, de-
veloped a quiet, restrained style of staged photography. Her work is
representative of the fictitious, of the arranged in two ways. Her se
built picture objects originally served the exclusive purpose of ben
photographed. In the meantime, however, they have become exhi >
subjects in their own right. They are unreal interiors, rooms pop"
with strange wire figures and objects made of paper and glue, a
miniature worlds, which she fits out, illuminates, and then photogr

This introduces a second
abstraction, a second
staging through the kind
of illumination, because
Gina Lee Felber does not
employ her photography
to obtain an exact repro-
duction of the miniature
worlds created, but uses
them only as a model for
the creation of a sort of
shadow play. Hardly any-
thing recognizable is
recorded in her photo-
graphs. One senses a
solid wall, yet in another
spot it turns out to be
transparent. A tapestry of
threads, grids, figures and
heads unfolds in front of
us, about whose correla-
tions the titles, such as
Evocation, Night Moth or
Shadow Conversation also
provide no clues. We are
faced with events in three-
dimensional space, even if
the latter regularly con-
verts into a plane. Be-
cause of this interpretive
?a tenng photography, her wire sculptures have absolutely no disillu-
fect on her photographic work. But this also proves that nei-

g'aphiT ' S 3 by " pr ° duct ofthe other ' or that the sculptures and photo-
ns speak an entirely different language independently of
*-'i other, rm

+ Cina Lee Felber
Evocation, 1991

Gelatin silver print
128x188 cm
ML/F 1991/685

174 I Felber

Felber 1 175

"* Erwin Fi eger
Sadl ^.from :L ,
and Dying on a,**
Can g«. India, I98}
Color print
42-2 * 61 cm
ML /F '993/198
Cruber Donation

*■ Erwin Fieger
Starving Child. 1963

Color print
56.6 x40 cm
ML/F 1993/197

Gruber Donation

Fieger, Erwin

1928 Toplei,
Czechoslovakia
Lives in Castelfranco
di Sopra, Italy

After moving to Germany, Erwin Fieger was drafted into the army in
1944. He then studied graphic design and typography at the State Acad-
emy for the Creative Arts in Stuttgart. In 1960 he resolved to make pho-
tography his profession and settled in Italy and in Germany. He concen-
trated on color photography and undertook extensive journeys through
England, Japan, Mexico and India, always following his own concep-
tions. Fieger was not willing to accept assignments that restricted his
conceptions. He worked only for a few selected magazines, such as up,
Realitis, Queen, Town and twen. He always worked with a view to pub-
lications, which he meticulously serviced and published. Fieger also
made a name for himself as a sports photographer at numerous
Olympic Games, and he published books about the Olympiads in Sap-
poro, Munich, Innsbruck and St. Moritz. His book about India, whic
planned over a period of many years as a journey from the source
Ganges river all the way to its mouth, and which was lavishly p" n1
magnificent. RM

176 I Fieger

Finkelstein, Nat

1933 New York
Lives in Amsterdam
and New York

A Nat Finkelstein
Warhol Factory,
1964/1967

Gelatin silver print
30 x 40 cm
ML/F 1994/5 b

Nat Finkelstein learned photography from Alexey Brodovitch, the le-
gendary art director of Harper's Bazaar. During the sixties he worked as
a photojournalist for the picture agency "Black Star", reporting primarily
on the political developments of the subculture of New York City. In the
course of this work he met Andy Warhol, whom he photographed with
his co-workers at the Warhol Factory. Because of his constant presence,
he was able to make photographs of great intensity and intimacy, fur-
nishing an insider's view of that famous studio.

After his break with Warhol, Finkelstein turned to political activities,
and it was only in the early eighties that he returned to photography,
again devoted himself to the underground, but he developed a style t
could be interpreted as a revival of pop art principles. He delved into
the new media, mixed video and color photography and manipulate
the pictures with a computer. Today many of his originals are laser
prints. In many of his important works, pictures of the subculture <
arranged into a solemn altar composed of still and moving picture
RM

A Nat Finkelstein
Warhol Factory.
1964/1967

Gelatin silver print
30 x 40 cm
ML/F 1994/5 e

* Nat Finkelstein
Warhol Factory,
1964/1967

Gelatin silver print
30 x 40 cm
ML/F 1994/5 f

178 I Finkelstein

-

Finkelstein 1 179

Fischer, Arno

1927 Berlin
Lives in Leipzig

A Arno Fischer
Berlin. 1958

Gelatin silver prim
33.4 x 50.1 cm
ML/F 1991/171

Arno Fischer is considered to be one of the most outstanding expo-
nents of classical photojournalism in eastern Germany. He had studied
in the drawing and sculpture class of the Kathe Koliwitz School in
Berlin, later continuing his studies of sculpture under Professor Drake
at the Art College of Berlin and under Professor Gonda at the College for
the Creative Arts in Berlin Charlottenburg. Encouraged by his teacher, he
came upon photography, to which he later devoted all his attention. He
photographed people in their social environment, dramatically describ-
ing everyday situations and scenes in the German Democratic Republic,
but also in the USA. The scene in Berlin showing people, isolated and
depressed, sitting among the ruins, is an impressive document ot the
postwar situation in Germany. Fischer worked for numerous publica-
tions, such as Sybille, Freie Welt and Das Magazin, and in 1967 he was a
member of the "Direkt" group. In 1985, following various teaching as
signments in Berlin and Leipzig, he became a professor of photograp
at the College for Graphic design and Book Art in Leipzig. RM

Se.^ und ' 922

8B yrw'P f ""
: - c m

84/4°
Cnl berD° na,,on

nes Maria Flach completed an apprenticeship as a businessman,
er which he found a job as a representative at the AEG firm in Dussel-
'n his spare time he was an active amateur photographer and he
1 e a member of the German Association of Amateur Photo-
ers. In 1925 he participated for the first time in a photographic ex-
0n - In 1928 he opened his own studio in Cologne-Zollstock. He
as a freelance photojournalist, which enabled him to give up his
representative. Flach's work is strongly characterized by the
1e Progressives. He died in 1936 as a result of maltreatment by a
^beroftheSS. RM

Flach, Hannes
Maria

1901 Cologne
1936 Cologne

180 I Fischer

Flach 1 181

Fontana, Franco

1933 Modena
Lives in Modena

Crouching Back
Nude. 1983

Color print

ML / F 1993/205
Cruber Donation

► Franco Fontana
Nude, 1984

Color print
14 * 223 cm
ML/F 1988/99

Cruber Donation

In 1961, Franco Fontana devoted himself completely to photography. In
1964, the magazine Popular Photography published his first portfolio,
and in 1970 he published his first book, Modena una Cittd. In the seven-
ties his most important subjects were landscapes, which he reduced to
abstract basic structures. The horizontal is usually the structural ele-
ment which, in the form of a horizon, the border of a field, a street or
beach, subdivides the picture area. Restrained and rigorous as the o
position was, it was invigorated by intensive, even luminous colors,
creative principle that he also applied to other subjects. In addition to
his photographic activity, Fontana also made a name for himself as
organizer of the San Marino International Photomeeting. RM

182 I Fontana

* Fran «> Fontana
B "<* and Ocean
"973

Color print
} °' "9-4 cm
ML /F .977/917
Cruber Donation

► Franco Fontana
Puglia, 1971

Color print
20.2 x 29.7 cm
ML/ F 1977/916

Cruber Donation

et nesof

t

:.?-?/ 2

^Sthe.d
portion

mette Frick studied art in the motion picture class of Robert van
sren. Aside from her artistic work, she campaigned vehemently for
k opportunities for young and alternative artists, founded the Har-
' Salon, and was one of the initiators of artistic life on the Cologne
Rh einau Harbor.

nette Prick's photographic works deal with feminine history and
ie sexuality in an aggressive way. This challenging attitude stems
1e cor| sideration that suppression is actually a result of fear, so
,s not a matter of demanding rights, but of grabbing them and
7 demonstrating this fact. In this context, Annette Frick's art is

olitical, though she does not misunderstand her art as propa-
ganda Sh j

e understands and utilizes the suggestive power of symbolic
ma ges. r m

Frick, Annette

1957 Bonn
Lives in Cologne

184 I Fontana

Frick 1 185

Frima, Toto

1953 The Hague
Lives in Amsterdam

prim

" To »° Prima
Untitled. , 985

s * 70 Pok ro i d
SxScrr,
M L/F , 993/2 , 7

Gr "ber Donation

► Toto Frima
Untitled. 1988

Polaroid print
fy-5xs6 cm
ML /F 1995/125

Uwe Scheid
Donation

After quitting her studies at an agricultural school, Toto Frima moved to
Amsterdam. From 1970 to 1979 she lived there with a painter, for whom
she also posed as a model. It was during this period that she created
her first Polaroid images, which were to become her most important
medium throughout her entire career. During the first years, she used a
Polaroid SX 70 camera, with which she recorded her staged sets on the
small square format. While doing that, she did not slip into other roles,
but always remained herself. She demonstrates how this self changes
and is finally converted into the woman herself by means of the multi-
tude of views. This is magnified by her adopting the 50 x 50 cm Polaroic
format, which requires more careful staging and more intense working,
because the camera is not constantly and arbitrarily available. On the
other hand, Toto Frima developed a type of multi-part work steps, in
which framed photographic components are assembled into diptyc
triptychs, with the cut edges remaining visible. This reduction into in
vidual elements reduces the tendency of de-individualizing the P' ctur
within their assemblage. Toto uses herself to introduce us to worn
the universe. RM

186 I Frima

Frima [ 187

Fuchs, Harald

1954 Rehau
Lives in Cologne

A Harald Fuchs
Ashes, from the
series: Structural
Superiority, 1986

Gelatin silver print
78 x 114 cm
ML/F 1988/190

From 1974 to 1978 Harald Fuchs studied graphic design under Professor
Erwin Grieteel at the Technical College in Wurzburg. He continued his
studies of graphics from 1978 to 1982 with Professor Rudolf Schoofs at
the State Academy for the Creative Arts in Stuttgart and then settled
down as an independent artist in Cologne.

In his work, Fuchs concerns himself with natural science research,
with astronomy, geometry, anthropology, and with the myths that are
also traditionally associated with these subjects. The purposeful assoa
ation of these elements results in pictures that challenge the views frorr
the former as well as from the latter premise. Fuchs is keenly interest*
in models of seeing, understanding and interpreting given situations
For the content of his large format photographic works, his installation
and lightboxes, he selects not nature itself, but culturally conditionec
views of nature. With their penetration of multi-layered levels of im-
agery, they elucidate the relativity of understanding natural contexts,
demonstrating at the same time the extent to which they are 1
RM

pEl erH.ra rSl

Flower,

Qlot print

Peter H. Furst received his training in his parents' photographic studio.
: later visited the Graphic Educational and Experimental Institute in
?nna, working also in the Agfa testing laboratory and in the studios of
several photographers. In 1960 he opened his own studio in Cologne. In
™ years that followed, he dedicated himself to architectural, industrial,
* advertising photography. He enjoyed his first big success with a
'^graphic series about the Pere Lachaise cemetery in Paris, which he
P^duced on his own initiative.

'this breakthrough as an internationally recognized photographer
ln the field of fashion and beauty photography. As the leading
J r apher of underwear in Germany, he soon earned the nickname
*• of Lingerie". He was a trendsetter in this field. He lifted it out of
O'r atmosphere and arranged settings of an entirely different
1e did in his series Hommage a Anton Raderscheidt. His photo-
r °m that series Danielle in a Black Basque was printed as a sensa-
P ,c ture in all the major newspapers. RM

Furst, Peter H.

1939 Leoben,

Austria

Lives in Cologne

188 I Fuchs

Furst 1 189

190 | Fiirst

A Peter H.Fiirst
Danielle in a Black Basque -
Hommage a Anton
Raderscheidt, 1983

Gelatin silver print
Sox 40 cm
ML/F 1989/181

HiJekiFiii"

graphs).

? 3/2i9
6w *< Donation.

Fujii was already interested in photography while he was still in
• He began his studies at Nihon University in Tokyo in 1954 and
ien assisted Japanese portrait photographer Shotaro Akiyama in
o. In 1957 Fujii joined the magazine Fukuzo (Costume) as a fash-
> otographer. Three years later, in 1960, he changed over to the
wign Center, which is an advertising agency, and began work-
as a commercial photographer. After another three years, in
ecame an independent photographer. In 1980 Fujii started a
0u t Japan and its geishas. In 19 8 4 he became acquainted with

he Pho? o 0r ' Wh ° ' ntroduced him to the model Hiromi oka . with whom
irapher went on to work for several years. Hideki Fujii was

,lb ition s aS ! fash '° n and adv ertising photographer through many ex-
3nd awards well beyond the borders of Japan. MBT

Fujii, Hideki

1934 Tokyo
Lives in Tokyo

Fujii J 191

► f*

Gan c

Gantz, Joe

1954 Cincinnati.

Ohio

Lives in Los Angeles

A )oe Gantz
Homage II, from:
The Possibility for
Love, 1985

Color Print
77 x 92.8 cm
ML/F 1995/130

Uwe Scheid
Donation

Joe Gantz had an early interest in writing, and this motivated him to
study literature at the University of Wisconsin. He then delved into
socio-critical research, which he supplemented with photographic docu-
mentation. In 1983 he founded the "View Film and Video" company, in
which he produced a number of video series with his brother Harry
Gantz. The series all addressed the subject of socio-critical research in
novel conceptual way. "People Arguing" and "Taxicab Confessions v
produced along similar guidelines, as was his photographic sequenc
Couples. He would come over with video and photographic equipmen
whenever one of his volunteer models contacted him by telephone.^
ier, with his photographic series Inching towards a Leap of Faith, J
done right, it is and The Possibility for Love, he had investigated vanoi
aspects of human relationships. In his latest sequence, Gantz uses ^
computer to explore Christian and mythological subjects in a
istic way. RM

OfrP""

986/82

■* Joe Gantz
From the series:
Self-portraits, 1985

Color Print
50.8 x 60.8 cm
ML/F 1986/210

192 I Gantz

Gantz 1 193

Caranger, Marc

1935 Ezy-sur-Eure.
Normandy
Lives in Paris

▼ Marc Caranger
Algerian Woman,
1960

Gelatin silver print
40.4 x 30.4 cm
ML/F 1984/51

Gruber Donation

Marc Garanger's photographic career began during the time of h"

military service, which he absolved in Algeria in 1960. At the time tk

French army was using all the means at its disposal in its efforts

suppress the Algerian independence movement. In order to pain k

gam Detter
control of the population, citizens were to be given French personal

identification papers. Garanger was given the assignment of photo,
graphing local citizens. He made his pictures outdoors, using a wh't
wall as a neutral background. This resulted in nearly 2000 portraits
times 200 per day. The majority of the people he photographed were
women, who were first compelled to unveil their faces in public. In a
sense, this transformed the camera into a weapon with which the ponu
lation was being culturally demeaned. Later on Garanger made the fol-
lowing comment about these unusual photographs: "I could feel the
silent but intense resistance from close proximity. And I want my pic-
tures to be a testimony to that. All the photographs that I made during

two years in Algeria should
protest against the terror that I
have seen." The photographer
published a selection of these pic-
tures in his 1982 book Algerian
Women.

In April 1989, Garanger trav-
eled to Louisiana at the invitation
of Kodak to test its new Ektar
color film. As a result of this trip,
Garanger, in cooperation with the
author Yves Berger, published the
photographic book Louisiana, Be-
tween Heaven and Earth, in which
he documents the fascinating na-
ture and the lively doings of the
population of this southern Amei
ican state. MBT

„| a ckCarofelo
tedding. >9? 2

ML/n977/2* 2

Collection

jack Garofalo became known primarily for his social documentary
reports about Pakistan and about the USA. In his 1971 photographic

r ies Conflicts in Pakistan he presented gripping pictures of the war and
of the violent anarchy.

'•s approach was different when he recorded life in the slums in

erican cities. Then it became critical, yet affectionate. He shows

I children's faces amongst garbage and ruins, youths dancing

it of a movie house, others forming a defensive group. All these

are filled with tension and movement, including those of the

ln g of a black couple, which he photographed in 1972. The smiling

and the bridesmaids and flower children are standing in a
v * r of nee and flowers. The brilliant white dresses of the women are
> contrast with the dark suits of the men, and all of them are

smili

n g under a drizzle of rice. NZ

Garofalo, jack

Born 1924
Lives in Paris

194 I Caranger

Garofalo 1 195

P -"PWaT£
POr "ait. ,9^

Ce, flllr

'5-3 *2j

UweScI
Donation

Gelpke, Andre

1947 Beienrode,
Germany
Lives in Zurich

From 1969 to 1974, Andre Gelpke studied photography under Otto
Steinert at the Folkwang School of Composition in Essen. In 1975,
Gelpke, together with Rudi Meisel and Gerd Ludwig, founded the
"VISUM" picture agency, which Gelpke left only one year later in order
to work as a freelance photographer. He made many trips, which t<
him across Europe, to North and Central America, and to India and
Nepal. Gelpke relies less on "found" pictures, preferring to photograf
situations he has deliberately sought out. His type of photography se
the style for the development of "visualism" in Germany, especial y
ing the seventies. His many years as a photojournalist become
in his choice of subjects. In his work, Gelpke distinguishes betwe
complementary categories: monologues (in the sense or se
tion), and dialogs (the relationship with the surroundings). Tv

When Arnold Genthe traveled to the United States after completing his
studies in philology, he had no intention of settling there, nor was he

ng of becoming a photographer. He had accepted an invitation to
teach for two years as a private tutor in San Francisco. Fascinated by
lis city, particularly by the lively hustle and bustle of Chinatown, he
soon decided to buy a camera in order to record his impressions. His

-•holographs were already so successful that he was able to display
them in several exhibitions on the west coast. In 1897. he became inde-
'endent and established his own studio in San Francisco. He rapidly
amed a reputation as an outstanding portrait photographer, and his
nises were visited by many prominent personalities,
•n April 1906 Genthe lost his entire property during the great earth-
in San Francisco. Only his negatives of Chinatown survived, be-
they were stored in the safe of a bank. Soon after the catastrophe,
bought himself a new camera, with which he proceeded to
1 'mpressive documentation of the aftermath of the disaster.
Se phot °graphs, and those of Chinatown, are today valued for their
■' re5t ni storical relevance.

5 Genthe moved his studio to New York, where he continued
jnized as a talented portrait photographer. This is were he
0n g many others, his well-known portraits of Greta Garbo.

Genthe, Arnold

1869 Berlin

1942 New Milford,

Connecticut

A Arnold Genthe
San Francisco,
Earthquake, 1906

Celotin silver print
24.7x33.5 cm
ML/F 1993/283

Gruber Donation

196 I Gelpke

Genthe 1 197

r Arno| dCen !he
Ann; > Pavlova,
around 1925

Bromide pri „,
33-5* 24.3 cm
ML/F '977/287

CruberCollecon

► Arnold Centhe
Greta Carbo, 1925

Bromide print
33-Gxijcm
ML /F 1977/288

Cruber Collection

Centhe photographed her before she had her great successes, an
said that his portraits were a decisive factor in bringing about the ■
covery of this star. Another field of special interest for Centhe
photography. He photographed numerous famous dancers, a
them Anna Pavlova and Isadora Duncan. MTB

198 I Centhe

Centhe 1 199

Gibson, Ralph

'939 Los Angeles
Lives in New York

▼ Ralph Gibson
From: The Somnam-
bulist, 1968

Gelatin silver print
}1.4 x 20.8 cm
ML/F 1988/84

Gruber Donation

Ralph Gibson studied photography from 1956 to i960, while he w

doing his military service in the US Navy. After his discharge, he
tended the San Francisco Art Institute from 1960 to 1961. In iq6 2 h

became an assistant to the famous social documentary photograph
Dorothea Lange. In 1969 Gibson went to New York, where he becam
an assistant to Robert Frank, who was making the film "Me and My
Brother". Still in that same year, he founded "Lustrum Press", a pubr h
ing house through which he published his own books as well as those
of other photographers.

In his photographic work, Gibson first concentrated on black-and-
white photography. He especially preferred grainy films in order to lend
a more graphic effect to his photographs. For subjects, he had a prefer-
ence for fantastic and surrealistic
scenes, which he staged with
fragments and excerpts from real-
ity. He liked to use a wide-angle
lens for deliberate spatial distor-
tion in order to accentuate the dy-
namics and tension in his pic-
tures. One of his most successful
"Ghost" series was The Somnam-
bulist of 1968, which included the
picture of the silhouette of a hand
in bright light coming through a
partly opened door. According to
L. Fritz Gruber, this photograph
has become the photographer's
"signature icon". MBT

»- Ralph Gibson
From: The Somnam-
bulist, 19 68

Gelatind*
24* 15.6 W

ML/F1993/" 6
Gruber Donate

200 | Gibson

Gidal, Tim N.

(Ignaz Nachum
Cidalewitsch)

1909 Munich
1996 Jerusalem

▼ Tim N. Cidal
Cheerful Self-
portrait, 1940

Gelatin silver print
17.5 x 12 cm
ML/F 1989/68

Ignaz Nachum Gidalewitsch, son of an eastern orthodox Jewish f
became an early member of the Zionist movement, where he al ' *'
perienced his first photographic impulses. From 1928 to 1031 u p
law, art history and history at the Universities of Munich and Bed"
After succeeding in having one of his pictures published in the Mu j,
ner lllustrierte Presse in 1929, he adopted the name Tim N. Cidal and
dedicated himself entirely to photojournalism. He left Germany i n
and continued his studies in Basle, concluding them in 1935 with a
thesis on photojournalism and the press. During the same year, he
spent two months in Palestine, emigrating there shortly afterwards
Working as a freelance photographer, he soon belonged, together with
Kurt Hubschmann and Felix H. Man, to the team of photographers of
the Picture Post. The photographic reports of that time became the

core of the magazine. His photo-
graph Face shows a world premi-
ere: the very first television trans-
mission in the Deutsches Museum
in the year 1930. In 1940, Gidal
returned from a trip to Asia with a
reportage about Mahatma Gandhi,
which earned him worldwide suc-
cess. In 1942 he joined the British
Army as a volunteer and worked
until 1944 as the chief reporter for
the army magazine Parade. In
1947 Gidal returned to work as a
freelance photographer in Jerusa-
lem, from where he traveled
throughout Europe. In 194 8 he
settled in the USA, where he
worked for Life magazine and

where, beginning in 1955- he
lectured at the New School fo

Social Research. Gidal died in
!996 in Jerusalem. RM

202 I Cidal

A Tim N. Cidal
Face, 1930

Gelatin silver print
24.5 x 19.2 cm
ML/F 1989/72

Cidal I 203

Cieraltowski,
Krzysztof

1938 Warsaw
Lives in Warsaw

"* Kr *yszt f
Cierahowski

Anckzyc

59 9* 40 cm
ML /F, 991/127

Krzysztof Gieraltowski is regarded as one of Poland's leading photo-
graphers. He studied in Gdansk and Lodz. Beginning in 1961, he be-
came more involved with the subjects of industry and fashion in con
nection with numerous advertising campaigns in Europe. Since 197
has concentrated on portraiture, photographing portraits of pohticiai
writers, musicians, actors, scientists, including many members
opposition party Solidarnosc. Overtime, this has resulted in a fascina
ing portrait of the Polish intelligentsia, of a society in turmoil. H c
centrates on the depiction of facial features and what they expres
the individual. To that end, he asks his subjects to reveal sortieth ' n ^ sU .
about themselves through facial expressions and gestures, an
ally stages his pictures in motion, dramatically and full often

pea* cilles

.... Action
,-,-dio

,26.5cm

56/22'

Hes attracted attention in the seventies through actions that in-

the spilling of his own blood. The myth that has been conjured

■ especially by human blood, since the dawn of mankind motiv-

1 to an intensive intellectual investigation of ancient African
cultures In th"

n 's quest, he came upon the fields of physical and psychic

situations and the opportunities they presented for making

I of extreme sensitivity and intense tension. These pictures

re « outpouring of feelings, of fear and of emotion. RM

Gilles, Peter

1953 Cologne
Lives in Cologne

204 I Cieraltowski

Cilles J 205

Gloeden,
Wilhelm von

1856 Volkshagen,

Germany

1931 Taormina. Sicily

▼ Wilhelm von
Gloeden
Taormina. 1901

Gelatin silver print
16.9 x 27.3 cm
ML/F 1995/114

Uwe Scheid
Donation

Wilhelm von Gloeden studied art history in Rostock and pai n tj
Weimar until a lung ailment compelled him to move to Taormi -
Sicily in 1877/1878. The experience in that small village was to h
a turning point in his life. Von Gloeden was fascinated by the nat i*
pride of its inhabitants and by the liberal atmosphere that he enr
tered there. He learned photography from a cousin in Naples, Wilh 1
von Pliischow, who was already established as a portrait and nude h
tographer, and from Giovanni Crupi. In 1880 he began to photograph
landscapes and typical scenes for postcards. His first outdoor nude
tures were made in 1890, when he began photographing young men
from Taormina in classical antique poses. He used landscapes, the
seashore, terraces and inner courtyards to stage his visions of these
youngsters in an ideal, Homeric-idyllic life. In 1899 the Photographic
Society of Berlin invited him to present a lecture on outdoor photo-
graphy. He became known internationally towards the end of the 19th

century. In 1908 he photographed
the big earthquake in Sicily and
Calabria.

Von Gloeden's prominence
lasted until the outbreak of World
War I, at which time he was
forced to leave Taormina for four
years. The fascists condemned
his photographs as obscene, and
they destroyed the greatest part
of his glass negatives and prints
after he died in the thirties. It was
only in the late sixties and the
early seventies that von Gloeden
was rediscovered. The cult of the
androgynous propelled him into
fame as one of the outstanding
nude photographers of this cen-
tury. TvT

Milton H. Greene began taking pictures when he was 14 years old. He
was an assistant to Eliot Elisofon, Maurice Baumann and Louise Dahl-
Wolfe. He was only 19 when he established his own studio, in which he
er photographed stars like Judy Garland, Cary Grant, Grace Kelly,
lizabeth Taylor, Sammy Davis Jr. and Marlene Dietrich. Greene worked
' a particularly long time with Marilyn Monroe, whom he met in 1953
I a photographic assignment for Look magazine. With her co-
ition he founded "Marilyn Monroe Productions" and over a period
°ur years he created a large quantity of photographic icons of this
letwo movies "Bus Stop" and "The Prince and the Showgirl"
5 So made during that period. Greene was active on an interna-
sl as a fashion and portrait photographer for such magazines
5 !fe Vogue and Harper's Bazaar. TvT

Greene,
Milton H.

1922 New York
Died in 1985

A Milton H. Greene
Marilyn Monroe,
1956

Celatin silver print
34.2 x 26.3 cm
ML/F 1995/121

Uwe Scheid
Donation

206 I Gloeden

Greene [ 207

Gruber, Bettina

1947 Cologne
Lives in Cologne

▼ Bettina Gruber
Creatures of the
Night, 1990

Color print
14.8 x1,1.5 cm
ML/F 1990/235

Gruber Donation

Bettina Gruber studied at the College for the Creative Arts in Berl"
then concentrated on photography and video. She was also activ
professional writer. Her artistic work is infused with poetic humor Sh
skillfully uses historical events, myths or everyday occurrences to c
picture stories, either as film and music presentations or compressed
into a single photographic image.

For a time she cooperated with Ulrich Tillmann and Maria Vedde
order to work on campaigns. She developed joint video concepts with
Maria Vedder, with whom she created the videos Mama's Little Pleasure
(1984), Big Brother Blues (1986), Catfish Tango (1986) and Anubis' Heart
Attack (1988), for which they were jointly awarded the 3rd Marler Video
Prize.

Up to then it had not been noticed how slyly caustic these films
were, in their contents and also with regard to the perfectionist televi-
sion industry. Her settings with children's toys, hand-cobbled props and
lighting manipulations presented fantasy worlds that were also lateral
swipes against the hidden directive that video art would be much more
attractive if it could avail itself of the same technical possibilities as
videoclips.

With her video work, Bettina Gruber proved that it is not necessary
to work perfectly with the medium, or to have perfect technical equip-
ment in order to develop an inde-
pendent artistic visual language
with video. Bettina Gruber often
created her photographic work in
conjunction with her video work
by selecting some of the best situ-
ations and then isolating them in

the form of photographs. Her
photograph Creatures of the Night
evolved from one of these video
projects, and it shows her with a
indispensable component of h

art: her dog Flicki. RM

Ara Ciller

d). 1956

sffcw P"'" 1
j X 28.8 cm
9S8/70

Sanation

Giiler is considered to be one of the most widely-known interna-

3nal creative artists. He met Marc Riboud and Henri Cartier-Bresson

1956 and became a member of the "Magnum" agency. In 1961 a num-

of photographic editors selected Ara Guler as one of the seven best

Kographers in the world. "Time Life" chose him at that time to be-

jlr Middle East correspondent. Not much later, he was also ap-

t Pans Match and the German magazine Stern to become their

'^graphic reporter in the Middle East.

f eighties, Guler was already able to look back on trips all over
u 'c world.

kind of 6 "- SUPP ' ,ed the P ress in Europe and in America with a different
the oneof^^ ° f Pe ° ple ' but also of art and archaeology - pictures like
h e swee° -^ dark " robed fi S ures contrasted against a white wall with
>lng Arabic writing spelling the word "Allah". NZ

Giiler, Ara

1928 Istanbul
Lives in Istanbul

208 I Gruber

Giiler | 209

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Gursky,
Andreas

1955 Leipzig

Lives in DCisseldorf

Andreas Gursky studied at the Folkwang School of Creativity in Essen
and at the State Art Academy in DCisseldorf, where he became a master
pupil of Bernd Becher in 1985. His large-format color photographs are
heavily influenced by the work of his mentor. They radiate audacity a
dynamism, and contain an intense if frozen energy. Gursky s picture.
stand out because of his unusual attention to small details, events
figures and patterns, as compared to the drawing-like objects an
ated forms that are so typical of Becker's work. Gursky's subjects are
topical situations and landscapes. His pictures capture the intens
density of human activities as well as the pace of their movemen s.
Gursky's large-format color photograph Paris-Montparnasse (19

;hows an anonymous multi-story housing block for the wo

rking class.

teristic symbol of life in a post-industrial megalopolis. As in

•stes' photo-realistic paintings of depopulated big cities, in
! s portrait of an apartment house complex, too, human beings
and cV ° rdlnate r ° le ' THe com P osition of th e picture is systematic

^BeT" 3 '' C0 ' d 3nd dlStant THere ' S n ° St3ging by the artist ' the
already !° ^ SCh °' ar merely P resents . without comment, that which

already

graph '■"- "'CdRfiess ana is<

c| ear anH° nVey ' eVen without an Y critic al commentary by the artist, a
^equivocal point of view. CC

ex| sts. But the bleakness and isolation of his objective photo-

A Andreas Gursky

Paris-Montparnasse.

'993

Color print,
mixed media
1&0 x 350 cm
ML/F 1995/97

Ludwig Collection

Haas, Ernst

1921 Vienna
1986 New York

A Ernst Haas
Rose. 1970

Color print
28x35.3 cm
ML/F 1993/24 1
Cruber Donation

Ernst Haas discovered his passion for photography early on - in his
own words, when he was still a child. His emotional photographs of the
arrival of the first train with returning prisoners of war in 1950, when he
was a freelance journalist for the magazines Der Film and Heute, earned
him a lot of attention. Soon afterwards, he joined the "Magnum"
agency. Beginning in 1951, Haas used primarily color film as a freelance
photographer for Life, Look, Vogue and Holiday. This resulted in the re-
portage about New York entitled Images of a Magic City and the sports
reportage The Magic of Color in Motion. Haas began to distance himself
more and more from sensationalistic photojournalism. In 1964 he pro-
duced "Days of Creation" for John Houston's film "The Bible". The cor-
responding book Creation was published in 1971. Now the photograf
began to experiment with audiovisual techniques. Flower Show an
portfolio Flowers, produced in 1983, demonstrate that details of flower
were important subjects in his late work. Shortly before he died unex-
pectedly in 1986, Haas presented his audiovisual show Abstracts.

< Ernst Haas
Time Life Building,
around 7955

Color print
56.5x37.8 cm
ML/F 1983/125

Gruber Donation

'//. p. 274/215:
Ernst Haas
Homecoming,
1947-1950

Celotin silver print
ca. 18 x 12 cm
ML/F 1983/122, 123,
124 and

!993/245. 246, 249,
252, 253

Cruber Donation

212 I Haas

Haas I 213

214 I Haas

5|

rjj

i

w^fl

■ i t^H

^^

u

SSL •-— »'**fc„

Haas | 215

Hausser, Robert

1924 Stuttgart
Lives in Mannheim

▼ Robert Hausser
The 21 Doors of
Benito Mussolini,
1983

Gelatin silver print
each 39 x 28. (alto-
gether 140 x 200) cm
ML/F 1986/93

Robert Hausser grew up in Stuttgart, and it was there that in iqo 4 u
bought his first camera obscura for 1 German mark. After graduati
from high school, he studied at the College for Graphic Design in
Stuttgart from 1941 to 1942. He was a soldier in 1944 and 1945. | n lg g
he married Elfriede Meyer, with whom he had a daughter named R e -
nate. From 1946 to 1952 he lived as a farmer on his parents' farm in the
Brandenburg Marches. It was there that he made his first portraits of
farmers from the surrounding area. In 1950 he began to study under
Professor Heinrich Freytag and Professor Walter Hege at the School of
Applied Arts in Weimar. He became a member of the German Society of
Photographers (GDL), where he was active as a member of the jury and
of the presiding committee. In 1952 he moved to Mannheim, where he
established a studio for photography.

In 1969 he was a founding member of the Association of Freelance
Photodesigners (BFF). Hausser was also very active in cultural politics,
and he was a member of the German Association of Artists, the
Mannheim Academy for the Creative Arts, the "Darmstadt Secession".
In the German Society of Photographers (GDL), he held the office of
vicepresident.

hin the framework of these functions, he initiated a program-
* reorientation of this society, a self-critical examination of its role
iird Reich, and its reorganization as the German Photographic
academy (DFA).

t>ooks aU h Ser made HiS liVing With the P ubl| cation of numerous pictorial
artists a Th ° Ut C ' tleS and '^scapes, as well as with his work on behalf of
Ending m t0 d ° Se friendshi P s and to the accumulation of an out-

e "deavors C ° w" ^ **' ^ ^ ^ '"^^ ^ '" hiS ownartistic
Jhe first ah C3n ^ dassified into various Phases of work. During

with a dram Se ^ ^ ^^ ^ phot °S ra P hs were most| y narrative, but
1954 h * chTr'V 63 ^ and S ° mber ex P ression - Durj ng the years 1952 to
^ often se *° * ^'^ Per '° d ' creating ''S ht and delicate pictures
°* onTh"^ m ° re ''^ dr3WingS than P hoto g r aphs. As a result of
he Parental farm in Brandenburg, farm life always inter-

A Robert Hausser
In the Housemaid's
Room, i960

Celatin silver print
48.8 x 59.3 cm
ML/F 1993/285

Cruber Donation

2i 6 I Hausser

Hausser | 217

ested him as well, as evidenced in his series Home Slaughtering, a
photographic essay in six pictures. Hausser became more and mo
interested in political subjects and in human fringe situations, It
loneliness, bleakness, desperation and death.

His series The 21 Doors of Benito Mussolini is one of his pru
works. The 21 doors represent the 21 years of the Mussolini go\
ment, and they were all in the Duce's villa, just as Hausser ph< o ^
graphed them. The pictures are accompanied by the Musso r»i s ^
ment: "When a man fails together with his system, then th

■ His sequence Wing shows his interest in formal composi-
sequential work. In recent years, numerous publications and
exhibitions have brought his work to greater p'ublic atten-
1 accomplishments in photography and its recognition as an
overall ^ ^ ^ h ' S Cultura| -P° | it'cal commitment, as well as for his
Bsso ''- RM* 10 ach ' eVements ' Hau sser was awarded the title of Pro-

218 I Hausser

Hausser | 219

Hajek-Halke,
Heinz

1898 Berlin
1983 Berlin

Heinz Hajek-Halke spent his early childhood in Argentina. Retu

mingto

▼ Heinz

Hajek-Halke

A Dealer's Shirt, 1955

Gelatin silver print
23.6x17.7 cm
ML/F 1977/1006

Gruber Donation

Berlin, he studied at the Royal School of the Arts from 1915 to iq 17
After serving in the army, he continued his studies under Professor
Ortik and the engraver Baluscheck. He started designing posters fo
movie companies and worked for the publishing house Dr. Dammert
From 1923 to 1925 he was a fisherman in Hamburg. His first attempts
photography stem from the year 1924. He worked as a press photo-
grapher, receiving much inspiration from the photojournalist Willi R U p
In 1925 he began making his first experimental photographs.

Beginning in 1927, he worked together with the publisher of the
Deutsches Lichtbild. In 1933 he began his scientific research in the field of
microorganisms and macrophotography. In 1937 he traveled to Brazil,
where he produced a pictorial essay about a snake farm. In addition, he
created abstract pictures and photograms. Starting in 1939, he worked
for the German army as an industrial and aerial photographer at the

Dornier works. In 1945 he became
a prisoner of war of the French,
but he escaped and started a
snake farm for the production of
poison for the pharmaceutical in-
dustry. In 1947 he went back to
working as a photojournalist and
experimental photographer. In
1949 he was a co-founder of the
"fotoform" group in Saarbriicken,
with whom he participated in
their exhibitions. In 1955 he be 8 an
teaching at the College for the
Creative Arts in Berlin as a pro-
fessor of graphic design and
photography. Hajek-Halke is con-
sidered to be one of the leading
German photographers of the
postwar era, who successfully
represented photography as an
art form, especially with his phc

tomontages and photograms.
RM

Before entering the photographic profession, Chadwick Hall worked
as an editor and theater critic for the magazine The Nation. At first he
worked for GQ and Esquire magazines as a fashion photographer and
portrait photographer of famous personalities. In 1965 he and his wife,
photographer Christa Peters, moved to Europe, where he worked for the
magazines Harper's Bazaar, Elle, Vogue, Queen and Stern. Hall attended
events at the College of Design in Ulm, and he also gave lectures in
Jew York. As founder and former president of "The Photographers' As-
n", he directed the production of advertising films before be-
more specialized in documentary films. He is under contract to
'"'am Morris agency as a scriptwriter. In 1969 he produced a
°cumentary film about Leni Riefenstahl. MTB

Hall, Chadwick

1926 New York
Lives in London

A Chadwick Hall
Untitled, 1976

Color print
35.8 x 73.6 cm
ML/F 1994/155

Gruber Donation

220 I Hajek-Halke

Hall I 221

Halsman,
Philippe

1906 Riga. Latvia
1979 New York

A Philippe Halsman
Dali Atomicus, 1948

Gelatin silver print
26.6x33.3 cm
ML/F 1977/300

Gruber Collection

222 I Halsman

Philippe Halsman is one of the most original and inventive portrait pho-
tographers of our century. Before he turned to photography, Halsman
studied electrical engineering in Dresden. It was only in 1928, when h
went to Paris, that he established himself as an independent fashion
and portrait photographer. In 1940 he emigrated to the USA, where
took on numerous assignments for Life magazine. In 1959 " e P ublis
his successful series entitled Jump Pictures, which were photographs a
prominent personalities performing jumps in front of his came
series is characteristic of the witty humor that permeated all his wor ■
Equally characteristic is the surrealistic touch of his work, which can
ascribed to his friendship with Salvador Dali. Halsman worked joint y
with Dali on various projects for more than 30 years, expressing
painter's ideas with the medium of photography. MBT

A Philippe Halsman
Dali's Skull of Nudes,
around 1950

Gelatin silver print
10.8 x 8.8 cm
ML/F 1993/268

Cruber Donation

Halsman | 223

224 I Halsman

A Philippe Halsman
One-Eyed Dali, 1954

Gelatin silver print
10 x7.9 cm
ML/F 1993/269

Gruber Donation

► Philippe H***
Mona Lisa Call. '*»

Gelatins,.

ML/F 1977/3 04
C-uber Collet

Halsman | 225

226 I Halsman

A Philippe Halsman
Dancer, around 1946

Celotin silver print
34.1 X28cm
ML/F 1977/302
Gruber Collection

▲ Philippe Halsman
Untitled (Pregnant
Woman and Cat),
around 1950

Gelatin silver print. U.5X 9 cm
ML/F 1993/273
Gruber Donation

Halsman | 227

Hamaya,
Hiroshi

1915 Tokyo
1999 deceased

▼ Hiroshi Hamaya
A Rice-planting
Woman, 1955

Celotin silver print

ML / F '977/312
Gruber Collection

Hiroshi Hamaya started taking pictures at the age of 15. He found ri
photographic club in 1933 and in the same year began working f 0r \ h "
"Oriental Photographic Manufacturing Company". In 1937 he estab ?
lished himself as an independent freelance photographer. Hamay
quickly became known and in 1940, like many of his colleagues, he
to Manchuria as a photographic war correspondent. Between i 945 ^
1952 Hamaya lived in Takada, later moving to the town of Oiso ne ^
Tokyo. In 1960 he joined the "Magnum" agency. During the years that
followed, Hamaya made many trips to America and Europe.

Hamaya documented the life of his countrymen in many photo-
graphic essays. One of the best known of these essays was his series
about the Niigata region. Over a period of about 20 years, Hamaya re-
peatedly photographed the simple life in this countryside, which is cov-

ered with snow for three quarters
of the year.

In addition to such photo-
graphic essays, Hamaya also
made a name for himself with his
aerial color photographs of land-
scapes, which he made from an
aircraft. Quite unlike Hamaya's
photographic reportages, human
beings no longer play any roles in
his aerial views. The imposing
formations of nature speak for
themselves in these impressive
documents of natural history.
MBT

► Hiroshi Hamaya
Women Washing,
around '955
Celatinsilverpnt*
29.9 x20 cm
ML/F 1977/3*3
Cruber Collection

228 I Hamaya

Hamaya | 229

Heinecken,
Robert

1931 Denver,

Colorado

Lives in Los Angeles

▼ Robert Heinecken
Porno Photo Litho,
1969

Mixed medio
24.3x24.9 cm
ML/F 1995/115

Uwe Scheid
Donation

After completing his studies at the University of California at
geles, Robert Heinecken began teaching drawing, design and U *"'
techniques there in ! 9 6o. In addition to his teaching activities tor >

American universities and art colleges, Heinecken has also bee^ ^^
ing as a freelance photographer since i960. In his work he delv" ^
the subject of elementary human drives and behavior patterns
sexuality, violence or social competitiveness. Occasionally he co^h- ^
sexual images with pictures from social and political realms thu "^
lishing connections between individual and collective behavior

Heinecken enjoys using pictures from a variety of media, indudi
magazines, television, even mail-order catalogs. He uses the visual '^
methods of advertising in order to impart a comparable subliminal
effect to his work. With the changes of color and black-and-white ph
tograph and contour line, Heinecken concentrates precisely on those*
signals of the advertising industry with whose props he composes many
of his pictures. The broad spectrum of his techniques includes gelatin
silver print, printing on existing picture material, collage, lithography,
photogram, photographic emulsions on canvas and environment.
Heinecken often combines pictures with texts. The versatility and the
provocative effect of his works are echoed in the verdicts of art critics,

who have labeled him as typically
American, a satirist, chauvinist,
guerrilla, dadaist, surrealist and
anti-purist.

In his work Porno Photo Litho
Heinecken utilized existing por-
nographic pictures and layered
them until they became unrecog-
nizable. In the tangle of seem-
ingly abstract and dark forms, it is
only upon a closer look that one
can discern faces and female
body shapes. TvT

rH ei<* Held .

•-3US oe-
. Moore

,. 1953

.,-, print

j8S/6C

puber Donation

At the end of the forties, Heinz Held was the manager of an art gallery
in Cologne and a freelance journalist before an exhibition arranged by
Otto Steinert entitled "Subjective Photography" inspired him to begin
taking pictures himself. It was not long before photography became his
most important activity after writing. He worked as a freelance photo-
grapher and journalist for a variety of German and European newspa-
pers and magazines and he published several art travel guides. Numer-
ous journeys took him through nearly all the European countries and
to Africa, America and the Middle East. Between 1960 and 1963, Held

erated the first private photographic gallery in Germany, in which he
exhibited mostly journalistic photography.

Weld's philosophy about photography is evident in several of his
;sa ys and in his book The Magic of the Banal, published in 1960. Held
sensitive to the ethical problems of photography, and he generally
H °graphed people from a judicious distance. In addition, he did not
Je the culminating "decisive moment", but the less dramatic,
^es melancholy human expression that is found in unspectacu-
r ev eryday situations and actions. TvT

Held, Heinz

1918 Zeitz, Germany
1990 Cologne

230 I Heinecken

Held I 231

232 | Held

A Heinz Held
Untitled (Girl with
Balloon), around 1960

Gelatin silver print
29. 8 x 23.8 cm
ML/F 1995/95

► Heinz HeW
London. *«*'*
Circus. 194 6

Cebtin s
ML/F199S/' 6

Held I 233

A. Heinz Held
Untitled (Lovers and
Policeman),
around 1960

Gelatin silver print
22.2x29.1 cm
ML/F 1995/94

*■ Heinz Held
Dortmund, 194S

Gelatin silver print
16.4 x 22. 5 cm
ML/F 1995/91

234 J Held

A Heinz Held
Hungarian Refugees,
Andau, 1956

Gelatin silver print
29.4x22.9 cm
ML/F 1995/93

Held I 235

Helnwein,
Gottfried

194S Vienna
Lives in Ireland

A G. Helnwein
The Last Supper,
1987

Color print
59 x 40 cm
ML/F 1987/154

► C. Helnwein
William S. Bur-
roughs. 1990

Gelatin silver print
99.2 x 66.2 cm
ML/F 1992/83

Carola Peill
Donation

► ► C. Helnwein
Michael Jackson.
1988

Celotin silver print
99.2 x 66.2 cm
ML/F 1992/84

Carola Peill
Donation

► Gottfried

Helnwein

Arno Breker, , 988

Gelatin silver print
99-2x66.2 cm
ML /F 1992/85

Carola Peill
Donation

► ► Gottfried

Helnwein

Andy Warhol, 1983

Celotin silver print
99.2x66.2 cm
ML/F 1992/86

Carola Peill
Donation

Gottfried Helnwein studied at the College for Graphic Design and Re-
search in Vienna from 1965 to 1969. The first modest perfomances took
place during this time. From 1969 to 1973 he studied painting at the
Academy for the Creative Arts in Vienna and, concerned about everyday
violence tolerated apathetically by the public, began a series of hyper-
realistic paintings of injured children. In 1970 he and two fellow stu-
dents staged a performance under the slogan The Academy is on Fire.
In 1973 he created his first magazine cover for the publication Profil. In
1981 he began a series about trivial heroes of the present, and he also
initiated a photographic working group whose work was later published
under the name Faces. Helnwein worked with the media of painting and
photography, created stage sets and performances, and campaigned
doing away with the separation of art into categories such as entertain-
ing art and serious art. With this in mind, he published his work on
posters and on the covers of large magazines. He also took his art to
the streets, as he did in 1988 with The Night of the Ninth of November
on the occasion of the "International Photo Scene Cologne" between
the Museum Ludwig building and the main railway station in Co ogn ^
Helnwein is regarded as one of the most important, politically c°
ted artists in Germany, considering public reaction to be part o ^
artistic work in the sense of conceptual art. He is always see
ways to disseminate that work. RM

236 I Helnwein

Helnwein | 237

Henle, Fritz

1909 Dortmund
1993 Virgin Islands

► Fritz Henle
Pablo Casals, 1972

Gelatin silver print
23.4x23.9 cm
ML/F 1990/230

T Fritz Henle
Grandma Moses,
around 1947

Gelatin silver print
31 x 27.4 cm
ML/F 1977/332

Cruber Collection

Fritz Henle was only 15 years old when he began taking pictures. Aft
brief period as a physics student in Munich, he turned to photograph *
The first publication of one of his photographs, a view of a blast f Ur
in his home town, took place when he was only 20. Hannah Seewald
ticed his work and arranged for his admission to the Bavarian State C I
lege for Photography in Munich, where he completed his studies with
an honors diploma. Soon afterwards he spent a year in Florence work-
ing on an assignment to photograph art treasures of the Renaissance
The pictures he made of the Toscana during that same period at-
tracted the attention of the steamship line "Lloyd Tourismus", for whom
he traveled all over Italy during 1934. In the years 1935 and 1936 he was
able to make photographs in China and in Japan. In 1936 he photo-
graphed on assignment for "Time-Life", and his pictures were published
in Fortune magazine. His subsequent trip to America enabled him to es-
tablish connections with Life magazine, which facilitated his emigration
to the USA. He became a US citizen in 1942. Henle photographed the
USA as a freelance photojournalist working for a variety of magazines,
such as Fortune, Life and Harper's Bazaar. From the beginning, the
Rolleiflex camera was his trademark and America his subject. He mas-
tered the square format with
great skill, combining in it both
balance and tension. During his
active years, he became known as
"Mr. Rollei", the personification
of the professional photographer.
In 1958 he gave up his studio
in New York and settled in St.
Croix on the Virgin Islands, where
he married his favorite model.
Henle, who always strove to ac-
centuate the positive aspects of
life and to emphasize them in his
pictures, found pristine beauty on

the islands, and he considered it
his special duty to pass it on. Ff ,tz
Henle achieved outstanding fa"*
as a nude photographer, espe-
cially in the fifties, and this was

238 I Henle

Henle | 239

A Fritz Henle
Frida Kahlo with
her Monkey. 1943

Gelatin silver print
2i. $ x 21 j cm
ML/F 1989/100

the subject of his book Fritz Henle - Figure Studies. But he also made
portraits of great personalities of our century, cultivating a special
relationship with the two Mexican artists Diego Rivera and Frida Ka o.
His uncomplicated philosophy of life enabled him to retain his vita i
and his energy into the last years of his life.

From St. Croix, Henle frequently visited Europe for exten
periods, because he did not want to lose contact with his home an
his colleagues, and museums. In 1989 he succeeded in having ■
photographs of Paris published, which were made within a

;h

enod of time in 1939. Soon afterwards, his home town of Dortmund A Frto Henle

'"'zed a large retrospective of his work at the Museum of Art and SsllT

'story. He had already donated his archive many years earlier to the '943

ity or Texas at Austin, TX, where he had been cataloging it over Gelatin silver print

f s and where he rediscovered many pictures that he had Ions
Slnce forgotten. R M

23.2 x 22.5 cm
ML/F 1989/137

240 I Henle

Henle | 241

Henri, Florence

1893 New York
1982 Compiegne,

France

T Florence Henri
Giinther and Carola
Peill. 1957

Gelatin silver print
17.3 x 16.J cm
ML/F 1983/13

Carola Peill
Donation

Florence Henri became known in the twenties and thirties as a trends
ting photographer of the New Vision. Her first artistic endeavors were "
the medium of painting. Florence Henri studied painting in Berlin and
Munich, and in 1924 she went to Paris to attend the Academie Andre
Lhotes and the Academie Moderne, which were directed by Femand
Leger and Amedee Ozenfant. In 1927 she successfully applied for the
preparatory course at the Bauhaus in Dessau. There she was inspired in
particular by Laszlo Moholy-Nagy, under whose influence she began to
take an interest in photography. While her course was still in progress,
she already began familiarizing herself with the creative possibilities of
this medium, and under the guidance of her teacher experimented with
unconventional perspectives, multiple exposures, montages, reversal of
tonal values and the like.

Florence Henri returned to Paris in 1929. At this point, she had al-
ready earned broad recognition for her photographic work and was in-
vited to participate in such important exhibitions as "Contemporary
Photography" in Essen and "Film and Photo" in Stuttgart. Photography
caused her painting to recede more and more into the background. In
Paris Florence Henri began to specialize in portraiture. Her models
were mostly celebrities from the artistic and intellectual circles of Paris.
In addition, she also created a series of anonymous portraits, so-called

Portrait Compositions. Utilizing
unusual perspectives and rigor-
ous and intimate croppings in
these pictures, the photographer
overcame any distance she might
have had towards portraiture.

Another important category in
the work of Florence Henri con-
sists of her Compositions with Mir-
ror. In these dense arrangements
of fruit, plates, reels of thread,
perfume bottles or purely geo-
metric objects that were thought

out to the last detail, and by the
use ofone or more mirrors, she

succeeded in upsetting the f am
iar central perspective spatial

arrangement of photography. With this fragmentation of picture planes,
Florence Henri reverted to the cubist form elements of her early abstract
paintings on one hand, and on the other she showed the definite influ-
ence of Constructivism in her clear, constructed still-life compositions
with the resulting structuring line arrangements. In her 1957 portrait of
jiintherand Carola Peill, Florence Henri still made use of this style of
visual expression of the twenties and thirties by positioning the couple
■Nnd the banister of a staircase. The rods of the banister thus became
onstructivist structuring element of the picture's composition.

'orence Henri left Paris in 1963 to retire in the small village of Belli-
In Picardy, where she gave up photography altogether and devoted
ler self entirely to her original vocation of abstract painting. MTB

A Florence Henri
Composition II. 1928

Gelatin silver print
17.2x23.9 cm
ML/F 1976/6 IV

242 I Henri

Henri | 243

Hill, David
Octavius

1802 Perth, Scotland
1870 Edinburgh

▼ David
Octavius Hill

Self-portrait,
around 1843

Colotype
ig.Sx 14.6 cm
WL/F 1977/336

Gruber Collection

David Octavius Hill, who entered history as one of the most import
portrait photographers, was actually a landscape painter and litho-
grapher. He resorted to photography only as an aid for executing a
usual assignment that he was given in 1843. He was commissioned
paint a group portrait of the 457 men and women who participated i
the founding convention of the Free Church of Scotland in Edinburgh
At the suggestion of his friend Sir David Brewster, Hill decided first to
photograph all the delegates individually, and then to use the resulting
pictures as guides for rendering their facial features correctly in the
painting of the group. He was fortunate in securing the cooperation of a
competent photographer, Robert Adamson, who had opened a photo-
graphic studio in Edinburgh a short time earlier. Even though the photo-
graphs were initially intended as a sort of memory aid, the two men did
not concentrate exclusively on the facial features of their clients. Instead
they created elaborate and well-composed portraits in the style of

painted portraits of their time.
Some of their portraits, those that
show ladies robed in luxuriant silk
garments, are even reminiscent
of Dutch painting of the 17th cen-
tury. Nearly all the portraits were
made outdoors, with exposure
times of several minutes. As
backdrops they used an open-air
studio on Carlton Hill and the
baroque monuments of Greyfriars
Cemetery.

y David
Octavius Hill
Mi Rintoul. Editor

of the Spectator.
i844- l8 4 8
Photogravure
21.6x15-9""
ML/F 1995/ 26
Gruber Donation

244 I Hill

Hill I 245

246 | Hill

Hill | 247

Hill

. 246:
^dOctavius

lonro,

ftotogiovure

f cm
yHjf i995/'3

-nation

pa/KJ Octavius Hill
Sncipal R- Hal-
dane, i844- ,8 'l 8

•95/«9
Cruber Donation

4 David Octavius

Hill

Handyside Richie

and |ohn Henning.

•.344-1848

Photogravure

S S cm

ML/F 1995/21

Cruber Donation

► David Octavius

Hill

lady Ruthven,

1844-1848

Photogravure
I 3 cm
ML/F 1995/15

Cruber Donat.on

"'■ P. 250:

David Octavius Hill

" gby.
'^44-1848

^fogroKure
■">-<"5->r;m
ML ' F '995/M

C, "l*' Donation

^ vid Octavi us Hill
"■ lsm« 0n

7 -!?C-7l

Crube,

'9S5/'8
^nation

Hill and Adamson worked as a team. Hill was regarded as the pro-
ject leader and as the one who set the artistic tone. Yet Adamson's role,
too, appears to have been greater than that of a mere craftsman. Be that
as it may, Hill gave up his photographic activities for a time when
Adamson died prematurely in 1848. Photographs that Hill made later
with a new partner did not reach the quality of earlier photographs
made with Adamson's creative input. MBT

248 I Hill

Hill I 249

250 I Hill

Hill | 251

Hilsdorf, Jacob

1872 Bingen,

Germany

1916 Frankfurt on

Main

▼ Jacob Hilsdorf
Cosima Wagner, 1911

Gelatin silver print
22.5 x j6 cm
ML/F 1993/290

Gruber Donation

Along with Rudolf Diihrkoop, Nicola Perscheid and Hugo Erfurth
Hilsdorf was one of the great portrait photographers of the turn of l^
century. Unfortunately his work, unlike that of his colleagues la f '
ten for decades, until it was rediscovered and newly appreciated h
end of the seventies.

Jacob Hilsdorf, like his brother Theodor, learned the craft of nh
graphy in the studio of his father Johann Baptist Hilsdorf in Bingen
After completing his apprenticeship, he served as an assistant for a ti
with Nicola Perscheid in Leipzig. In 1897 Hilsdorf took over his father-
studio, and he soon made a name for himself as a talented portrait
photographer. His clientele was made up of personalities from the no-
bility, politics, high finance and the creative arts. His contemporaries
particularly appreciated Hilsdorf's talent for conveying something of his
sitter's character and psyche in his photographs. During lengthy portrait

sittings, which often took place in
the model's home rather than in
the studio, he would strive to
elicit the most natural expression
by engaging the sitter in intensive
conversation.

During the controversy about
the artistic recognition of photo-
graphy that raged around the turn
of the century, Hilsdorf assumed
"a forceful front against the 'artist
delusions' affected by some of his
colleagues" (German Art and Dec-
oration). On one hand, Hilsdorf
had no ambition to impart a
painterly look to his photographs
by doing subsequent work on
them. On the other hand, he
suffered from the "limitations" of
photography as compared to
painting, lamenting: "It will re-
main a hybrid art." MBT

^ed Himmer
■prase on
^Apple. Belt""*

: 9 74
, : r print

:-5/ Z2 7

Cnbe , Donation

252 I Hilsdorf

Siegfried Himmer completed his apprenticeship in photography in
Wunsiedel and proceeded to study under Professor Hannes Neuner at
the State Academy for the Creative Arts in Stuttgart. From 1965 to 1972
he worked with four partners who called themselves the "Graphicteam
Koln". He has been operating his own studio since 1972, working on as-
signments from Lufthansa, Bayer AG, Hapag Lloyd, Koln-Dusseldorfer,
Adam Opel AG, and has also published his work in the magazine Cap-
]t °l. Himmer stands out because of the great precision of his photo-
graphs, and also because of his unconventional pictorial interpreta-
ons. In his still-life photographs, he combines classic arrangements
tn dramatic use of color in order to generate strong expressiveness in
" S P'ttures. His picture The Release on the Apple is a satire of the sur-

P'tture ideas of the seventies, particularly those associated with the
narr <eSamHaskins. RM

Himmer,
Siegfried

1935 Dresden
Lives in Cologne

Himmer | 253

Hine, Lewis
Wickes

1874 Oshkosh,
Wisconsin
1940 New York

A Lewis W. Hine
Untitled, around
1910

Gelatin silver print
11.8 x 16.9 cm
ML/F 1986/139

jeane von Oppen-
heim Donation

► Lewis W. Hine

Glass Factory, 1908

Gelatin silver print
16.7 x n.8 cm
ML/F 1986/138

Jeane von Oppen-
heim Donation

Lewis W. Hine was the outstanding exponent of social documentary
photography in America. He dabbled in various fields before enrolling in
the University of Chicago, and in 1900 he moved to New York City to
study at New York University. He returned for one summer to the Uni-
versity of Chicago and then went back to New York City to study social
work at Columbia University. Encouraged by his friend Frank A. Manny,
Hine began to take photographs in 1904. He realized that the camera
was an important instrument, both for his investigations as well as for
the evaluation of the findings of those investigations. He concluded his
pedagogical studies in 1905. He taught at a photographic club, which e
also managed and which two years later was joined by Paul Strand. n<
started working for the National Child Labor Committee (NCLC) in 19
and he continued working with that organization until approximate y
1917. In 1908, under the auspices of the NCLC, he photographed chi -
dren working in coal mines and factories. In 1909, the Child Welfare
League used his photographs in its campaign against child labor. 1
ing further travels throughout the USA, Hine documented the socia
conditions of children, and he also gave lectures on behalf or trie

254 I Hine

Hine | 255

▲ Lewis W. Hine
New England
Country Store,
around igio

Gelatin silver print
72 x 17 cm
ML/F 1986/135

Jeane von Oppen-
heim Donation

► Lewis W. Hine
Untitled (Hickory,
North Carolina),
1908

Gelatin silver print
ii.8 x 16.9 cm
ML/F 1986/140

Jeane von Oppen-
heim Donation

▲ Lewis W. Hine
At Work in a Glass-
blowing Works, 1909

Gelatin silver print
11.7 x 16.8 cm
ML/F 1986/136

Jeane von Oppen-
heim Donation

•* Lewis W. Hine
Newsboys. 1909

Gelatin silver print

11.4 X 76.6 Cf77

ML/F 1986/143

jeane von Oppen-
heim Donation

256 I Hine

Hine | 257

tional Child Labor Committee. In 1918 Hine joined the Red Cross, which
dispatched him to France. From there he also traveled to Italy and to
Greece, returning to New York in June 1919. There he changed his em-
phasis from an objective, clear documentation without emotion to
a more interpretive style of photography. His advertising was now
headlined "Lewis Wickes Hine, Interpretive Photography". With his
photographs of workers he sought to demonstrate that it was not the
machine, but man who created affluence. In 1930, Hine was given the
assignment of documenting the gigantic construction project of the
:m P'ire State Building. The resulting images, which Hine regarded as
Industrial Interpretation", are probably the most famous of Hine's
P h °tographs. MBT

258 I Hine

A Lev/is W. Hine
Oyster Openers. 1913

Gelatin silver print
cj.2x 11.4 cm
ML/F 1986/141

jeane von Oppen-
heim Donation

< Lewis W. Hine
Untitled, around
1910

Gelatin silver print
16.9X 11.9 cm
ML/F 1986/145

Jeane von Oppen-
heim Donation

Hine | 259

Hoepffner,
Marta

1912 Pirmasens.

Germany

2000 Kressbronn

► Marta Hoepffner
Absurd Canyon, 1950

Gelatin silver print
39.5 x 29.8 cm
ML/F 1989/76

▼ Marta Hoepffner
Firebird, 1940

Gelatin silver print
2g.yx22.2cm
ML/F 1989/82

In her youth, Marta Hoepffner was interested in the natural scienc
Her first artistic inspiration came from a relative named Hugo Ball
After her parents moved to Frankfurt on Main in 1928, Marta Hoe ff
earned her tuition money by doing office work. After one semester
the Arts and Crafts School in Offenbach, she began studying paintin
graphic design and photography at the School for the Arts in Frankfurt
on Main, where she derived a great deal of motivation from her teach
Professor Willi Baumeister. This is also where she became aware of D h
tography as an artform. When the Nazis discharged Baumeister, Marta
Hoepffner left the art school and opened her own studio in 1934, where
she conducted photographic experiments and created photographic
montages and abstract photograms in addition to running her photo-
graphic business. After her studio was destroyed in wartime 1944, she
moved to Hofheim in the Taunus Region. Here she created her first in-
terference pictures with polarized light. Many of her photographs were

inspired by the composition prin-
ciples of contemporary artists
such as Giorgio Morandi and
Wassily Kandinsky. In 1949 she
was joined by her sister in found-
ing the private Marta Hoepffner
Photographic School. The curric-
ulum, which also included theory,
was based on the principles of
the Bauhaus. The first color pho-
tograms were created in 1956. In
1966 she developed her first
"variochromatic light objects". In
1971 she moved to Kressbronn on
Lake Constance and gradually
turned her teaching activities over
to her assistant Irm Schoffers.
Since 1975 she has only been free-
lancing. RM

Y^YJK'>]

/,..,. rrt*r*H nr °

262 I Hoepffner

Hoepffner | 263

A Marta Hoepffner
Composition with
Bottles, 1945

Gelatin silver print
34.8 x28 cm
ML/F 1989/79

► Marta Hoepffn*'
Nude. Movement.
Solanzation. »94°

Ulatin sih# p**

39.6x76.7""
ML/F 1989/7 8

264 I HoepfFner

Hoepffner | 265

Horst, Horst P.

(Paul Bohrmann)

1906 WeiSenfels,
Germany
1999 New York

► Horst P. Horst

Mainbouchet Corset.
Paris, 1939

Gelatin silver print
24.2 x 19.2 cm
ML/F 1984/66

Cruber Donation

T Horst P. Horst
Coco Chanel, Paris,
1937

Gelatin silver print
20. 6 x 79.7 cm
ML/F 1977/34°

G ruber Collection

After a short-lived interest in architecture and an apprenticeshin urn,

K "'III la

Corbusier in Paris that bored him, Horst P. Horst was attracted to k
tography through his friend George Hoyningen-Huene. Janet Flann
the New Yorker discovered his pictures in a small exhibition in a book
store in Paris-Passy. This led to his first job at Vogue, the magazine to
which Horst was to remain loyal as a fashion photographer for the re t
of his life.

Horst may not have revolutionized fashion photography, but hecer
tainly perfected it. The second generation in fashion photography still
had to define fundamental concepts for the photographic approach to
fashion. How representative or realistic should a fashion photograph
be, how much should the respective fashion design be the center of
photographic interest, and how much could the photographer's creative
concept prevail over these precepts?

What characterizes Horst's photography is his conception of beauty.
Horst had undertaken intensive studies of classical poses, he studied
Creek sculpture and classical painting, and he devoted particularly
meticulous attention to details such as the positioning of hands, be-
cause he was aware of the fact that most people did not know what to
do with their arms and hands during photography. The combination of

judicious poses and bearings,
sparse accessories and simple
but skillful lighting is typical of
what is often described as Horst's
illusionist talent. He magically
transformed simple boards of
wood into exquisite furniture.
cardboard rolls into antique
columns and plaster figures into
marble sculptures. Whatever he
photographs, he transforms
everything into elements of his
classical, idealized world. But in

no way does he suggest that this
idealized world now is reality- He
leaves it as fiction, as the projec-
tion of an ideal conception of
beauty. His beauty is distant, coo

266 I Horst

Horst I 267

268 I Horst

J**** Horst

' aSdl 'aparellj.p ariS|1937

• F '992/18,

A Horst P. Horst

Helen Bennett, Paris, 1936

Gelatin silver print. 35.2 x 27.5 cm
ML/F 1992/198

R. Wick Donation

Horst I 269

I H orst P. Horst
Hand =. Hands. i 941

***" silver print
P* V-Scm

ML ^99a/i8 5

"'^Donation

A Horst P. Horst
Still Life. 1937

Gelatin silver print
35-2x27.5 cm
ML/F 1992/175

R. Wick Donation

270 I Horst

Horst I 271

A Horst P. Horst
Vogue Cover. 1938

Color print
41x41 cm
ML/F 1992/199

R. Wick Donation

and unapproachable, erotic and seductive, but only as a figment o\
mind, like a dreamworld far beyond all animal instincts. This distance
between his photographs and reality makes him an artist of h
who, even though he loves the material world, the illusions O
ing, of beauty and of fashion, and photographs it with devotion, is
aware of its illusory character and for that very reason revere

A Horst P. Horst
Around the Clock,
New York, 1987

Gelatin silver print
35.2x27.5 cm
ML/F 1992/196

R. Wick Donation

272 I Horst

Horst I 273

Horvat, Frank

1928 Abbazia, Italy
Lives in Paris

►• Frank Horvat
In the Dressing
Room, 1963

Gelatin silver print
39 x 26 cm
ML/F 1977/346

Cruber Collection

▼ Frank Horvat
Fellini and a Model,
1963

Gelatin silver print
39.9x27.1 cm
ML/F 1977/345
Gruber Collection

Frank Horvat, whose father was a physician, fled to Lugano in 1939 and
attended high school there. In 1944 he sold his stamp collection in
order to buy a used camera. After returning to Italy, he studied drawing
at the Accademia di Brera in Milan. In 1951 he submitted his first photo-
graphic essay about southern Italy, which was published by the maga-
zine Epoca. His very first color photograph was on the cover. That year
he traveled to Paris for the first time, where he met Robert Capa and
Henri Cartier-Bresson. In 1952 he traveled to India at his own expense.
The photographs that he made there were published by Paris Match,
Picture Post and Life magazine. In 1955, Edward Steichen selected some
of his pictures for the legendary exhibition "The Family of Man". In 1958
Frank Horvat began working forjardin des Modes, Elle and Vogue. He be-
came a member of the "Magnum" agency in 1959, but remained there
for only three years. In 1964 he started working for Harper's Bazaar, twen
and Elle. During those years, he began to concentrate more and more

on fashion photography.

Horvat is a highly versatile
photographer who masters the
most varied subjects, ranging
from landscape and fashion pho-
tography to portraits. He is also
very interested in experimenta-
tion. He began to stage his set-
tings in the style of old masters,
and more recently he has been
using computers for picture
montages in the surrealistic
tradition. RM

274 I Horvat

Horvat | 275

Hoyningen-
Huene, George

1900 St. Petersburg
1968 Los Angeles

► George

Hoyningen-Huene
Bathing Suits by
Izod, 1930

Gelatin silver print
28.8x22.6 cm
ML/F 1992/207

R. Wick Donation

▼ George
Hoyningen-Huene
Greta Garbo. 1951

Gelatin silver print
34.2x26.6 cm
ML/F 1977/349

Gruber Collection

George Hoyningen-Huene is considered to be one of the great expo-
nents of fashion photography of the twenties and thirties. His career be-
gan after he moved to Paris in 1920, where he took up a great variety of
jobs. He worked as a movie extra and studied painting. It was during
this period that he also developed close contacts with the Paris art
scene, befriending such legendary figures as Kiki de Montparnasse and
Jean Renoir. He soon made a name for himself as a talented fashion
draftsman, and his work was published in Harper's Bazaar and
Fairchild's Magazine. In 1925 he was hired by Vogue. It was approximately
at that time that he began to turn more and more to photography, start-
ing to work as an assistant to the American photographer Arthur
O'Neill. A year later Hoyningen-Huene made his first fashion photo-
graphs for Vogue and thus gained entry into this field, in which he was
particularly active in the years from 1926 to 1945. Many of his photo-
graphs from this period reflect his fascination with Surrealism and his
interest in Greek antiquity. Flawless compositions with well-balanced
lighting are as much a trademark of this photographer as are the inclu-
sion of classical Greek props and
surrealistic effects.

In 1935 Hoyningen-Huene
moved to New York, and in 1936
he began working almost exclus-
ively for Harper's Bazaar. In 1943
he published his picture books
Hellas and Egypt. In 1946 he went
to Hollywood, where he became a
sought-after portrait photo-
grapher of American movie stars,
and where he also became active
in motion pictures, especially
short features. MBT

276 I Hoyningen-Huene

Hoyningen-Huene | 277

■* Hanns Hubmann

Wi"y Brandl kneel-
'ng at the Monu-
ment to the Warsaw
Ghetto. 7 Dec. 1 970

Gelatin silver prim
49-9*49-8 cm
ML/Fi 9 g 7 /, 74

► Hanns Hubmann

Reception in Beverly
Hills. ZsaZsaCa-
bor, Curd |urgens
and Louella Parsons,
the Hollywood gos-
sip columnist, 1957

Gelatin silver print
37 x 22.5 cm
ML/F 1987/179

Hubmann,
Hanns

1910 Freden
Lives in Kroning

Hanns Hubmann studied at the Technical College in Darmstadt, but he
soon became interested in photography, and in 1931 moved to Munich
in order to study photography at the Bavarian State Institute for Photo-
graphy. His first Leica photographs already brought him success. Upon
his return to Germany from working for the administration of the St.
Moritz health resort, he was arrested for alleged propaganda lies
against the Nazis. Barely avoiding a concentration camp, he went un-
derground for a while, reappearing in 1935 to work for the Berliner lllu-
strierte Zeitung. In 1936 he moved to Berlin, from where he traveled to
America. In 1937 he published a reportage about the Spanish Civil War.
In 1939 he began working for Life magazine and in 1941 he was drafte
to become a war correspondent for Signal. In 1945 he began working
the latter's American equivalent, the Stars and Stripes. He traveled to
every continent, interesting himself primarily in political and spoi
events. His photograph of Willi Brandt kneeling at the Monument totj^
Warsaw Ghetto is a picture that became synonymous with an ever
which was published around the world. RM

278 I Hubmann

Hubmann | 279

■< Douglas Huebler
Variable Piece
No. 48: Document
for the entire visual
"Appearance" as far
as the eye can see,
1971

Collage, Gelatin silver
print, printed piece,
sketches
210 x 97 cm
Ml/F 1985/37
Ludwig Donation

Huebler,
Douglas

1924 Ann Arbor,

Michigan

Lives in Bradford.

Massachusetts

Like Allan Kaprow and Joseph Kosuth, Douglas Huebler is both an artist
as well as an art critic and theoretician. In Huebler's conceptual work of
the seventies the documentation of his projects played a significant role
- not least because that is the only way they are perceivable to a viewer.

As an example, for his Variable Piece No. 48 (1971). Huebler assem-
bled documentation of an art project. In a statement that is as mu( * a
part of the work as a series of photographs, a road map, a letter to Ne
York gallery owner Leo Castelli and a sketch of the arrangement oft e ^
photographs, Huebler describes the idea behind the project. On the J
of May 1971 he made more than 650 photographs along the way frorn^
his adoptive home town of Bradford, Massachusetts, to the I
Gallery in New York City. . that

These pictures document the totality of the optical impre o ^
he encountered on his way. Every photograph was made from a sp ^
spot on the highway, in the direction of travel and looking as

ye could see. Huebler then had someone else select the "most aes-
thetic" view from the entire crop of photographs and he displayed an
appropriately enlarged print of that view along with the rest of the docu-
ments.

Huebler is not especially interested in aesthetic problems, even if
enlargement of the New York bridges still has a particular photo-
a Pnic appeal. In general, less emphasis is placed on the quality of the
lot ographs than on the best possible capture of the various optical
enomena. According to Huebler, "These documents are not necessar-
lr) teresting on an aesthetic level, meaning that they are not intrinsic-
works of art'. I use these documents to record a condition of ab-
ute coexistence between 'picture' and 'language'." CC

280 I Huebler

Huebler | 281

Hutchinson,
Peter

1930 Thornton
Heath. Surrey, UK
Lives in New York

•* Peter Hutchinson
1-BlueJay, i 974

Color print
5°5 * 75-7 cm

ML/F i97 9 /, 35 , ,

* Pete '

Like Joseph Kosuth, conceptual artist Peter Hutchinson is interested in
the abstract definition of words and things. Together with Jean Le Cac,
Bill Beckeley, Mac Adams and Roger Welch, Hutchinson belonged to a
subgroup of Concept Art that became known in New York during the
seventies as narrative or descriptive art. These artists combined the sys-
tematic analysis of art with poetic stories in which the artist/author of-
ten also acted as the main protagonist.

With his three-part work J-Blue Jay (1974) from his Alphabet Series,
Hutchinson explores the connotation of the letter "J". He combined
photographic images, anecdotal text and three-dimensional letter
shapes in order to explore their elementary properties. In his text about
the letter "J", the artist wrote: "I had been reading 'Memories, Dreams
and Reflections' by Carl Jung and was sitting outside my cottage m
Provincetown trying to 'let go' as Jung described it, 'sink into my uncon-
scious and have a mystical, mythical experience'. Nothing happened ex-
cept that my head began to throb strangely. At that moment a bird
alighted on the seat of my bicycle a few feet away. It was a Blue Jay.
looked at me for a few moments as though it carried some important
message." CC

Hutchinson
Blue lay. '974
:cn text
panel
i/F i979/'35> I'

M

► Peter Hutchinson
l-Blue Jay. 1974

Wood, ceramics
co, .35-5*23 *2-5 cm
ML/F 1979/1351 HI

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hX «(• «/> ftu-O duirrfxj J, "Ati-k ¥rJj> l>~) I**-

frsiu&M ctv-i ko*rt o -tr*pAic4j -r>*j>f},(ca£ j-v

MoJ. hs^o*-. f* sfcrci Mirvr^JU^ ■ MJ^aXrui-
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wfb. o. <fe.-j -feu omjo^ M mo* o &f*t fy*j*
H ~2cTrtv-4 aJ jm ^for a yew A>*fr*rln a^^igvU,
/A earned -/S-c»*t ^t-fertarf ^»4«Ci.ae .

282 I Hutchinson

Hutchinson | 283

Huth, Walde

1923 Stuttgart
Lives in Cologne

▼ Walde Huth
Ambre, from:
Fashion of the
Times, 1962

Gelatin silver print
57.7x50.5 cm
ML/F 1989/107

Walde Huth originally wanted to become an actress or a mime, or painter
and sculptor, but she acceded to her father's wishes for her to first study
photography under Professor Walter Hege at the State School for Applied
Art and Craft in Weimar. There she experienced light as a formative, cre-
ative medium and began to enthuse about photography. After complet-
ing her studies she started working in the colour film processing division
of Agfa in Wolfen. In 1945-1949 she earned a living for herself and her
parents as a self-employed photographer, doing portrait photography
and with photographic assignments. In 1949 she turned to fashion pho-
tography and advertising, and in 1953 she opened a studio in Stuttgart.
Her work for the Frankfurter lllustrierte provided her with an entry into
haute couture photography in Paris and Florence. This resulted in an
exclusive contract with the Frankfurter Allgemeine Zeitung. Walde Huth's
open-air fashion work and her talent for bringing fashion and architec-
ture into an expressive relationship found great acceptance, and in 1955
she turned down a contract with Vogue. After marrying Cologne architec-
tural photographer Karl Hugo Schmolz in 1956, they worked in their
jointly built studio block (from 1958 onwards) producing fashion, ad-
vertising, architectural and furniture photography.

After Karl Hugo Schmolz passed away in 1986, she gave up his ad-
ditional large studio and concen-
trated entirely on making pho-
tographs according to her own
conceptions. Her photographic
cycles 100 Unwritten Letters.
Photographic Modulations, 100
frozen Steps. Photographic
Sequences, Eyed Existence, Aphro-
dite, Became a Figure or Optical
Delicacies exemplify her very indi-
vidual approach to staged pho-
tography, to photographic found
objects, and to serial
photography. RM

«•«*■

<.,

A Walde Huth
Patricia, Evening
Robe by Jacques
Fath, Paris 1953

Gelatin silver print
57.4x49.7 cm
ML/F 1989/110

284 I Huth

Huth I 285

286 I Huth

A Walde Huth
Lucky D6collet6.
Dress by Dior,
Paris, 1955

Gelatin silver print
35.2x27.9 cm
ML/F 1983/110

Cruber Donation

,. Walde Huth
33 rd letter from the
rtcie: One Hundred
Unwritten Letters,

1979

Color prin'

4 a 5 x28-5 cm

ML/Fi982/<6

L> Walde Huth
7th letter from the
cycle: One Hundred
Unwritten Letters,
1979

Color print
40-S * 28.5 cm
ML/F 1982/5

► Walde Huth
51st letter from the
cycle: One Hundred
Unwritten Letters,
"979

Color print
40.5 x 28.5 cm
ML/F 1982/20

►► Walde Huth

9th letter from the
cycle: One Hundred
Unwritten Letters.
1979

Color print
40-5* 28.5 c™
M L/F 1982/7

Huth I 287

Ignatovich,
Boris

1899 Lutzk, Ukraine
1976 Moscow

A Boris Ignatovich
Hermitage, 1929

Gelatin silver print
36.7 x 45 cm
ML/F 1992/13"
Ludwig Collection

288 I Ignatovich

Boris Ignatovich began his professional career as a newspaper editor
and journalist in Moscow in 1918. From 1922 to 1925 he worked mostly
for humor magazines like Lore or The Laughing Man. In 1923 he also
took up photography and during the years that followed worked as a
photographer and correspondent for various magazines. He achieved
his first success with a photographic essay about village subjects. In the
late twenties, Ignatovich had close contacts with Alexander Rodchenko,^
with whom he founded the photography section of the "October Croup
in 1930. The friendly relationship with Alexander Rodchenko had a
marked influence on Ignatovich's photographic style. He enjoyed taking
pictures from extremely low or high camera positions, and through
these unconventional viewing angles he discovered a new way of l<
ing at everyday life. A sightseeing flight over Leningrad presented
with new opportunities in his search for unconventional perspec

A Boris Ignatovich
Isaac Cathedral.
1930

Gelatin silver print
19x24 cm
ML/F 1992/124

Ludwig Collection

< Boris Ignatovich
Smokestacks and
Factories of a
Leningrad Industrial
Complex. 1931

Gelatin silver print
73 x 18 cm
ML/F 1992/125

Ludwig Collection

Ignatovich | 289

A Boris Ignatovich
Leningrad Docks
with Aircraft Wing.
1929

Gelatin silver print
16.5 x 23.5 crn
ML/F 1992/126

Ludwig Collection

► Boris Ignatovich
Factory Window.
1929

Gelatin silver print
24 x ij.Scm
ML/F 1992/127

Ludwig Collection

He created bird's-eye views such as Smokestacks and Factories of a
Leningrad industrial Complex, in which architecture is rendered as an
abstract-constructivist composition.

After 1929 Ignatovich was the leading photographer, together with
Rodchenko, of the magazine Daijosch. During that period, Ignatovich
particularly enjoyed the use of symbols, slogans and picture captions,
which he applied not just as intellectual supplements to his photo-
graphs, but in which he also saw forms with their own graphic appeal.

After the war Ignatovich devoted himself especially to landscape and
portrait photography, concerning himself also with the opportunities
color photography. MBT

of

290 I Ignatovich

Ignatovich | 291

lonesco, Irina

1935 Paris
Lives in Paris

▼ Irina lonesco
Nude with Two
Doll's Heads,
around 1973

Gelatin silver print
39.2x39.4 cm
ML/F 1984/69

Gruber Donation

Irina lonesco spent her childhood in Romania and moved to Paris in
1951. She traveled for several years and busied herself with painting
before becoming interested in photography. In March 1974 she exhib-
ited her photographs in the Nikon Gallery in Paris and attracted a great
deal of attention. In the years that followed, her pictures were published
in numerous publications, such as Femmes sans tain, Nocturnes and
Temples aux miroirs. In many of her picture series she alludes to situ-
ations reminiscent of those described in the novels of Alain Robbe-
Grillet, in particular Memories of the Golden Triangle: lavishly dressed
women, bedecked in jewels and in motionless poses, provocatively
offering themselves partly disrobed, often wearing leather chokers,
bracelets, gloves or corsages to conjure hints of possibly impending or
perhaps already existing violence. In her photographs, Irina lonesco
conjures up a world of beautiful women in connection with eroticism
and death. Irina lonesco's photographs became controversial because

she used her own pubescent
daughter as a model, depicting
her in poses that were no less
erotically suggestive than they
would be with more mature
models. Her photography always
seemed to move along the fine
line between purely erotic pic-
tures and artistic compositions,
and she had to struggle for the
recognition of her earnestness.
Today the content of her pho-
tographs is closer to the spirit of
the times than ever before, and at
present her pictorial expression
can even be considered as re-
strained. In this respect she can
be regarded as a trendsetter in
her field. RM

292 I lonesco

Gottfried Jager completed an apprenticeship as a photographer and
studied at the State College for Photography in Cologne. In 1960 he be-
came a lecturer in photographic technology at the School of Arts and
Crafts in Bielefeld. In 1973 he became a professor of artistic funda-
mentals of photography and photographic design at the Professional
College of Bielefeld. Jager devoted himself to experimental photography
and the effects of light, concentrating on a so-called "generative photo-
graphy". He concerned himself with photographic series and with
investigations of vision and perception, and he created the concept of
"image-conveying photography" on a systematically constructive basis.
In 1970 he developed so-called "apparatus art" and since 1980 he has
been delving into color developments, color cycles and color spectra as
well as the plain colorfulness of photographic paper.

Jager was also a very successful teacher, and he founded a school in
Bielefeld that has significant influence on the development of contem-
porary artistic photography in Germany. Aside from that he was an
effective president of the German Photographic Academy (formerly

°L , the Society of German Photographers), whose new orientation
'e was instrumental in bringing about. His writings, particularly "Im-

i-conveying Photography" are regarded as standards in the field of ex-
perimental and fundamental photography. RM

Jager, Gottfried

1937. Burg near
Magdeburg
Lives in Bielefeld

A Gottfried Jager
Two Squares, a
three-part photo-
graphic work, 1983

Gelatin silver print
each 24.5 x 24.5 cm
ML/F 1985/161 l-lll

Jager | 293

Jansen, Arno

1938 Aachen
Lives in Cologne

▼ Arno Jansen
Heating Period. 1975

Gelatin silver print
40.} x 30.5 cm
ML/F 1988/92

Gruber Donation

Arno Jansen grew up in Dusseldorf, and in 1959 he began studying
photography under Professor Otto Steinert at the Folkwang School
in Essen. In 1974 he became a professor at the Technical College in
Cologne. During the years of his teaching tenure, the Technical College
of Cologne graduated numerous artists who today are known interna-
tionally and who devote themselves to photography.

Jansen grew up in a generation that, even though it was based
largely on "subjective photography", more and more followed impulses
emanating from America, for instance from Ralph Gibson or Lee Fried-
lander, who brought "visualism" to Europe in the seventies. While "visu-
alism" possesses certain parallels to "subjective photography", it is
however less constructive and rational, oriented less towards the
Bauhaus. Instead, it is more emotion based and it observes less from
the outside than it does from the inside. Jansen dedicated himself to
this sensitive outlook on evolution and decay, he assisted a little with
arrangements, and beyond that he observed with calm but also with an-
ticipation the changes taking place around him in time, eventually mak-
ing his photographs when time had left sufficient traces. Jansen thus
evolved into a master of the clear transposition of the natural chaos that
he observed. As much as he did not like to intervene in the events of his
decaying still-life arrangements, his pictures are equally strongly charac-
terized by his insistence on per-
fection. From the judiciously un-
dertaken, well-balanced illumina-
tion to the carefully selected
camera position, everything was
designed to achieve a maximum
of clarity in the composition.
Jansen pursued his main subject
of still-life photography both in
black-and-white as well as in
color, which he kept very sub-
dued, although he also did not
shirk from a saturated blue color
as a background.

In the eighties, Jansen discov-
ered another subject: portraits
mature women. They intrigued

294 I Jansen

him for the same kind of reasons as his still-life pictures did: the ten-
don-filled relationship of still evident beauty and feminine radiance and
a PProaching decline.

w 'th the closing of the Technical College of Cologne, Jansen lost his

essorship, whereupon he devoted himself entirely to his own purs-
uits. R M

A Arno Jansen
My Ex, 1975

Gelatin silver print
40x30.7 cm
MLF 1994/183

Gruber Donation

Jansen | 295

Jaros, Piotr

1965 Myslenice

< Piotr |aros
Embrace, 1994

Gelatin silver print
191 x 200 cm
ML/F 1994/9

Piotr Jaros studied at the College of Art in Cracow until 1989. ™ d since
then he has been working in the fields of photography and installations.
An important theme in his staged photographs are the relationships
and interactions between people. The large-format black-and-white en-
largements from his series Embraces depict couples sitting in stiff poses
in front of a neutral background. Familiar from Christian iconography,
the subject of Madonna and Child is applied to same-sex and opposite-
sex relationships. A paradoxical effect is generated by the fact that tl
individuals appear indifferent and unemotional, in spite of the proximity
and intimacy signaled by their bodily contact. Because they are life-:
the portraits in the exhibit situation combine with the space of the ob-
server and confront him with their static presence. TvT

20,6 I laros

p- Dimitri |ermakov
Tiflis on the Banks
f the Kura River,
around 1895

Celatin silver print
22 x28.8 cm
ML/F 1994/339

Cruber Donation

Dimitri Jermakov completed his training at the Military School of Topo-
graphy. In 1870 he made a number of photographs of Georgian archi-
tectural monuments, which he signed on the back as "Artistic Photo-
graph by His Highness the Shah of Persia". In the same year, Jermakov
opened a photographic studio in Tiflis. Between 1870 and 1915 he trav-
eled through Persia, the southern coast of the Crimea, Central Asia and
the Northern Caucasus. Jermakov worked on new methods for the man-
ufacture of collodion plates and he also made sketches for a mobile la-
boratory. In 1874 ne was decorated by the French Photographic Society.
During the war between Russia and Turkey, between the years of 1877
and 1878, Jermakov was a photographer for the military mail depart-
ment of the general staff of the Caucasus Army. In 1883 he was named
Art Photographer of the Archaeological Society of Moscow. Commis-
sioned by the French expert on oriental matters Jean Mourier, he made
photographs of wall paintings in various churches in 1884. In 1889 he
Published his Historical Photo Album of Georgia. During his active time,
ermakov assembled a total of 127 albums. Today a large collection of

ls work and his equipment is in the Historical Museum of Georgia.
MBT

Jermakov,
Dimitri

around 1845/48
Tiflis, Georgia
around 1915/17 Tiflis

Jermakov | 297

Johnston,
Alfred Cheney

1885 New York
1971 Oxford,
Connecticut

-« Alfred Cheney
Johnston

Virginia Reid,
around 1920

Gelatin silver prim
31-7 "24-9 cm
ML/F 1977/367

Cruber Collection

► Alfred Cheney
Johnston
Drucilla Straine,
1920

Gelatin silver print
33.4 x 26.7 cm
M L/F 1077/368

G ruber Collection

Alfred Cheney Johnston was already an amateur photographer while he
was studying art at the School of Fine Arts in New York City. His career
as a glamour photographer began when Flo Ziegfeld hired him as the
official photographer of his show dancers, the Ziegfeld Girls. Johnston
perfected a wonderfully titillating skill of making his dressed models
look nude. He photographed all the silent movie stars of the twenties,
among them the Dolly Sisters, Gloria Swanson, Mae Marsh, the Fair-
bank Twins, as well as Lillian and Dorothy Gish.

His photographs shaped the image of Hollywood of that decade.
Johnston was a master of the art of draping, of only partially covering
models with fabrics and lace, so that the stars did not have to undress
and still appeared disrobed to their fans. That skill soon earned him the
nickname "Mr Drape".

With the end of the silent movie era, his fame also began to fade.
Other photographers followed in his steps and portrayed the heroines
of the new era. Johnston's work lay forgotten for many years and it was
only recently rediscovered in the USA. There is practically no demand
for his photographs in the art market. The L Fritz Gruber Collection i

298 I Johnston

Johnston | 299

A Alfred Cheney

Johnston

Dolly Sisters. 1923

Gelatin silver print
Diameter. 26 cm
ML/F 1977/354

Gruber Collection

)

A Alfred Cheney
Johnston
Blanche Satchell,
1925

Gelatin silver print
J2.j x 26.3 cm
ML/F 1977/363

Gruber Collection

300 I Johnston

Johnston | 301

one of the very few European collections that can boast a large body of
his work and that has regularly exhibited and published it since 1983.

Johnston continued his work for another seven years after Ziegfeld
passed away, and in 1940 he retired to his country home in Oxford, CT,
where he devoted himself to nude photography until he died. RM

A Alfred Cheney Johnston
Gloria Swanson, 1920

Gelatin silver print
34 x 26.5 cm
ML/F 1977/359
Gruber Collection

302 J Johnston

A Alfred Cheney
Johnston
Reclining Nude,
around 1950

Gelatin silver print
24 x 32.9 cm
ML/F 1977/366

Gruber Collection

Johnston | 303

Jiittner,
Burkhard

1952 Delmenhorst
Lives in Bonn

▼ Burkhard Jiittner
The Queen of Fried
Foods, 1987

Gelatin silver print
13.9 x25 cm
ML/F 1989/3

Burkhard Jiittner studied photography with Arno Jansen at the Cologne
Factory Schools. In 1972 he embarked on study tours to Spain and
Northern America. In 1974 he became an assistant to Professor L Fritz
Gruber, in charge of artistic aspects of Photokina. In 1975 he undertook
study tours of Northern Africa, Spain, and France. Following his exams
he became a master student under Professor Arno jansen. From 1978 to
1981 he taught at the Technical College of Cologne. Since then he has
been working as photojournalist based in Bonn. In 1980 he founded a
portrait studio with a workshop gallery for artistic photography. In 1983
he founded a photographic production company. In 1995 he expanded
its scope by adding an on-line imaging agency called "Vintage" for art-
istic photography with emphasis on travel photography and artistic por-
traiture.

Since taking his first photographs, Jiittner - in the tradition of visu-
alism - pursued a type of photography following an underlying concep-
tualism. Thus his thematic picture sequences of the seventies were later
increasingly structured on the laws of immanent contradiction. Juttner
took pictures of bathing beaches and hot-dog stands in opposite sea-
sons and formulated starkly composed views of absolute emptiness. He

contrasted truncated advertising billboards with their adjacent environ-
ment - the pavement, a landscape or a fence in the background. Jutt-
ner's photographs appear to obey the strict laws of the documentary
and still be pure products of imagination. In particular his beach scenes
satisfy a high degree of what could be called "photographic minimal-
ism". Frequently, his comparisons are so astounding that they appear to
be stage productions. Still, Juttner has never allowed himself to be
affected by current trends such as the large format or image manipula-
tion, but, once he had discovered it, has remained faithful to the small
format, to "straight photography", and to the principle of technical per-
fection. RM

A Burkhard Juttner
Roncalli Circus. 1976

Gelatin silver print
27.5 x 14.5 cm
ML/F 1994/187

Cruber Donation

A -4 Burkhard

Juttner

War Veterans, 1975

Gelatin silver print
22.3 x 1J.2 cm
ML/F 1977/950

Cruber Donation

304 I Juttner

Jiittner | 305

Julius, Kurt

1909 Hanover
1986 Kirchheim

► Kurt Julius
Margot Hielscher,
1949

Gelatin silver print
38.9 x 29.2 cm
ML/F 1991/100

▼ Kurt Julius

Hildegard Knef, 1947

Gelatin silver print
40.5 x 30.3 cm
ML/F 1991/96

Kurt Julius studied photography at the Bavarian State Educational Insti-
tute for Photography in Munich. Upon completing his education with
distinction, he worked nationally, as well as internationally, in various
photographic studios from 1931 to 1938. After receiving his diploma as
master photographer he took over his father's studio in Hanover. In
1943 his apartment and studio were destroyed during an air raid and
Julius lost his entire archive. He spent 1944 in a labor camp from which
he managed to escape in 1945. After the end of the war he returned to
Hanover, set up a new studio and devoted subsequent years to portrait,
advertising, architectural and theatrical photography. In addition, he
acted as photojournalist at movie studios in Cottingen, Hamburg, and

Munich.

The first edition of Stem magazine in 1948 showed a portrait by
Julius, the famous face of the young actress Hildegard Knef. Between
1949 and 1979 Julius documented all the opera and ballet performances
and stage plays of the National Theater of Lower Saxony in Hanover.

In 1980 he finished his contract
work, and he and his wife moved
back to Kirchheim in the vicinity
of Munich. There, he continued
to work exclusively on a freelance
basis, mostly portrait studies, for
example, a series on his neigh-
bors or his photographer col-
leagues. His portraits are com-
posed unconventionally and
frequently imply an individual's
ambiance in an understated
manner. RM

306 J Julius

Julius I 307

Kahle, Birgit

1957 Cologne
Lives in Cologne

A Birgit Kahle
Untitled. 1983

Celotin silver print
50.7 x 50.7 cm
ML/F 1985/138

Birgit Kahle began her collaboration with performance artist and painter
Peter Gilles toward the end of the seventies. In part she documented his
performances in photographs, in part she included herself, while some-
times she made herself the object of photographic productions. This lat-
ter idea, finally developed into her own artistic methodology. Her first
cycle, Fear is Man's Best Friend, which was directed at external threats, as
well as at internal ones brought about by disease, resulted in immediate
success in the arts world, in the years following she developed her pro-
jections with increasing simplicity, arrived at cuts and tears in large r<

m ats, and in later series re-composed her image fragments to create
new collage-like works. Finally, in her Polaroid series she arrived at the
question of the perceptibility of the beyond and its existence, conveyed
■nrough the perceptibility of the pictures themselves. Being an artist
0u ple, Birgit Kahle and Peter Gilles thrive on the constant, reciprocal
simulation of their work. RM

A Birgit Kahle
Untitled. 1984

Celotin silver print
each 50.J x 50.7 cm
ML/F 1984/134 l-V

308 I Kahle

Kahle | 309

Karsh, Yousuf

igoS Mardin,

Armenia

Lives in Ottawa.

Canada

< Yousuf Karsh
Jawaharlal Nehru,
around 1949

Gelatin silver print
31.3x25-3 cm
ML/F 1977/376

Gruber Collection

"The never-ending fascination for the people I photograph rests in what
I call their internal strength. It is part of the hard-to-define secret hidden
within everyone, and the attempt to capture this on film has been my
life's work." This is how portrait photographer Yousuf Karsh has de-
scribed the attraction of his work.

In 1924, aged i6, Karsh emigrated to Canada, where he came under
the care of his uncle, George Nakash, an established photographer. That
is when Karsh discovered his enthusiasm for photography and, with the
aid of his uncle, learned the fundamentals of the art. In 1928 George
Nakash succeeded in securing an apprenticeship for his nephew with
Boston portrait photographer John H. Garo, to whom Karsh owes a
well-trained observant eye for the great masters of painting and art in
general. In 1932 Karsh opened his own portrait studio in Ottawa. There,
he quickly acquired the reputation of an exceptionally talented portrait
photographer, whose clientele included high-ranking individuals in pol-
itics, science and the arts. In 1941 Karsh achieved his international
breakthrough with his famous portrait of Winston Churchill. This pic

310 J Karsh

.

A Yousuf Karsh
Winston Churchill.
1941

Gelatin silver print
37 x 25.3 cm
ML/F 1977/369
Gruber Collection

Karsh | 311

■4 YousufKarsh
George Bernard
Shaw, 1943

Silver bromide print
33.8x26.9 cm
ML/F 1977/372

C ruber Collection

ture of a grouchy, critical Churchill appeared on the title page of Life
magazine and to this day it is still one of the most reproduced portraits.
In his work Karsh did not restrict himself to his own studio. He actu-
ally preferred to take portraits of his sitters in their own familiar environ-
ment. Karsh published his portraits in numerous photographic volume
and frequently revealed the pictures' histories in brief anecdotes. MB!

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312 I Karsh

A YousufKarsh

Martha Graham, around 1959

Gelatin silver print
32.6x26.4 cm
ML/F 1977/375

G ruber Collection

Karsh | 313

► Benjamin Katz
Andre Kertesz, 1980

Gelatin silver print
28.jxn.6cm
ML/F 1985/93

Cruber Donation

► ► Benjamin Katz
Ceorg Baselitz, 1977

Gelatin silver print
29.2x22 cm
ML/F 1983/150

Katz, Benjamin

1939 Antwerp
Lives in Cologne

▲ Benjamin Katz
Marcel Broodthaers
and Marie-Puck
Broodthaers, 1972

Gelatin silver print
21.5 x 28.5 cm
ML/F 1983/155

► Benjamin Katz
The Konig Brothers.
Paul Maenz Gallery,
Cologne. 1981

Gelatin silver print
30.9x23.9 cm
ML/F 1982/308

► ► Benjamin Katz
Markus Lupertz.
1979

Gelatin silver print
28.5 x 27.5 cm
ML/F 1983/151

314 I Katz

Benjamin Katz moved to Berlin in 1956. There he studied at the Acad-
emy of Fine Arts under professors Jaenisch, Bohm and Lortz. Between
1958 and 1959 Katz was a member of the youth ensemble under the dir-
ection of Thomas Harlan. In 1963 he and Michael Werner founded the
Galerie Katz/Werner. After barely one year he and his partner separated
and he operated the gallery by himself until 1969. His staged over 60
exhibitions, showing artists such as Markus Lupertz, Georg Baselitz,
Marcel Broodthaers, and Antonius Hockelmann. In 1972 Katz settled in
Cologne and made photography his medium of choice. He evolved into
the chronicler of the Rhine art scene, with Cologne and Dusseldorf as
the main centers.

Benjamin Katz did mostly freelance work, but especially during the
eighties he also frequently collaborated with museums, in particular the
Museum Ludwig in Cologne, where he was commissioned to document
the large exhibition "Art of the West" in 1981. However, he also docu-
mented other large events in great detail, such as the exhibitions "From
Here On", "Picture Fight" and "documenta IX".

Even after turning to photography, his artist friends from his gallery
days remained an important subject for him. He took pictures in stu-
dios and pubs, at exhibitions, gallery openings and artists' parties a
documented exhibition set-ups and performances. Katz is not only ai

rid

Katz J 315

A Benjamin Katz
James Lee Byars and
A. R. Penck with a
Baselitz Sculpture,
Werner Gallery, 1983

Gelatin silver print
21.5 x 2S.5 cm
ML/F 1983/1 54

► Benjamin Katz
Richard Hamilton
at his Installation,
Westkunst Exhibi-
tion, 1981

Gelatin silver print
30.9x23.9 cm
ML/F 1982/182

outstanding portrait photographer, he has also developed essay-like pic-
ture sequences to perfection. Situations come alive when three or four
closely related image sequences capture the gist of a situation in an al-
most movie-like manner. He often recognizes something in otherwise
inconsequential moments that is characteristic of the people who are
involved. It is in those situations at the periphery of action that his ex-
traordinary sense for the essence blossoms out.

By now his archive has developed into an inexhaustible source for
all those who organize exhibitions or who publish books. There is hardly
anyone in the art scene, be it artist, collector, gallery owner, museum
director, critic or journalist, who has not been captured by his camera at
least once. RM

316 I Katz

Katz I 317

A Benjamin Katz

► Benjamin Katz

Nam June Paikand

James Lee Byars,

Reinhold Mifselbeck

1981

with Shigeko Kubo-

Celotin silver print

ta's Buddhas, 1986

30.9x23.9 cm

Gelatin silver print

ML/F 1982/189

30.5 x 24 cm

ML/F 1987/132

► ► Benjamin Katz
Joseph Beuys. 1981

Celotin silver print

7 3-9 x 3°-9 cm
ML/F 1982/196

318 I Katz

Katz I 319

< Peter Keetman
Reflecting Drops,
1950

Gelatin silver print
23.2x30.3 cm
ML/F 1989/46

► Peter Keetman
Thousand and One
Faces, 1957

Gelatin silver print
30.3 x 23.3 cm
ML/F 1989/48

Keetman, Peter

1916 Wuppertal-
Elberfeld, Germany
Lives in
Marquartstein

Peter Keetman received his first photographic inspirations from his
father, who was a serious amateur photographer. At the age of 19 he
attended the Bavarian State Educational Institute for Photography in
Munich, where he obtained his apprentice's diploma in 1937. After two
years at the studio of Gertrud Hesse in Duisburg he worked as an
industrial photographer for the C. H. Schmeck Company in Aachen. In
1944 he returned from military service seriously wounded and unable to
work. Nevertheless he continued his studies at the aforementioned
Institute in the master's program and then studied under Adolf Lazi in
Stuttgart. Following his legendary exhibition in Neustadt/Hard in 1949.
Keetman was one of the founding members of the "fotoform" group.
Together with the other members of this group (Toni Schneiders, Wolf-
gang Reisewitz, Ludwig Windstofter, Siegfried Lauterwasser and Heinz
Hajek-Halke) he showed his first pictures at Photokina in 1950. Keet-
man became known internationally through his experimental work, in
particular Reflecting Drops. RM

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320 I Keetman

Keetman | 321

322 | Keetman

■* Peter Keetman
Volkswagen P| am ,
'953

Cel °tin silver print
i02 * 23-' cm
M L/F , 989/49

A Peter Keetman
Screw Pump, i960

Gelatin silver print
30.2 x ?}.6 cm
ML/F 1989/44

Keetman | 323

Keiley, Joseph
Turner

1869 New York
1914 New York

▼ Joseph T. Keiley
A Small Piece of
Paris, 1907

Clycerin Platinotype
19.) x 74 cm
ML/F 1995/35

Gruber Donation

Joseph Turner Keiley began as a lawyer on Wall Street in New York City
before turning to photography and participating in amateur exhibitions
In 1899 he became a member of the "Camera Club" and, as one of four
American members elected to the "Linked Ring" in London, he parti-
cipated in this club's photographic salon exhibitions. He and Alfred
Stieglitz were friends. Together they worked on improving tone values in
the development of platinum prints. In addition, they experimented with
mercury and uranium salts in order to impart platinum prints with more
realistic flesh tones. Keiley wrote phototechnical and historical articles
for Camera Notes, a journal which Stieglitz had been publishing since

1896. In 1902 Stieglitz founded
"Photo Secession", and Keiley
was among the founding mem-
bers, who included such famous
photographers as Frank Eugene,
Gertrude Kasebier and Edward J.
Steichen. The object of "Photo
Secession" was, among other
things, to "promote photography
as a means of artistic expres-
sion". In 1903 Keiley participated
in the Salon Photographique des
Photo-Clubs Paris. At the same
time he was a member of the edi-
torial committee of Stieglitz's
publication Camera Works. This
unique journal published not only
the works of "Photo Secession"
members but also of European
photographers, including Hein-
rich Kiihn, Hans Watzek, Freder-
ick H. Evans and Julia Margaret
Cameron, who was already dead
at that time. AS

324 I Keiley

A Joseph Turner
Keiley

The Last Hour. 1901

Photogravure
12.1 x 19.2 cm
ML/F 1995/31

Gruber Donation

*• Joseph Turner

Keiley

Portrait of Miss de

C. (Mercedes de

Cordoba), 1902

Photogravure
»x 16 cm

M L/F 1995/32
Gruber Donation

Keiley | 325

Kempe, Fritz

1909 Greifswald.
Germany
1988 Hamburg

-< Fritz Kempe
Karl Hugo Schmolz,
1970

Gelatin silver print
32. G x 22.2 cm

ML/F 1990/49

► Fritz Kempe
Lucia Moholy. 1980

Gelatin silver print
32.7 x 22.4 cm
ML/F 1990/41

Following an apprenticeship in photography with his father, Fritz Kempe
set up his own studio for industrial and advertising photography in
Berlin. In 1945 he settled in Hamburg, where he worked as an editor and
publisher. Between 1949 and 1974 he was director of the State Regional
Picture Center Hamburg. In 1952 he founded the Hamburg Collection
for the History of Photography which has its present home in the Mu-
seum of Fine and Industrial Arts. This made him the founder of one c
the first photographic collections in a museum. His photographic wor
have concentrated on portraits, although he is mainly credited for h
organizational and publishing activities. His publications have con-
tributed significantly to the recognition of photography as an artistic
medium. RM

326 I Kempe

Kempe | 327

Keresztes, Lajos

1933 Budapest
Lives in Nuremberg

▼ Lajos Keresztes
Titicaca, Bolivia.
1988

Color Print
50x40cm
ML/F 1995/90

After graduating from high school, Lajos Keresztes worked in a graphic
arts office in Budapest. However, when the Soviets crushed the 1956 up-
rising, he fled to Austria and then to Germany. In 1957 he began to study
architecture in Munich and, in the context of graphic design, discovered
photography. Following his studies of photography at the Technical Col-
lege of Cologne, Keresztes settled in Nuremberg in 1963, where he set
up a studio and devoted himself to subjects such as fashion, cosmetics,
calendars, magazine illustrations and advertising.

In his photography he continued in the realm of graphic design. In
particular in his series Light-Symbols-Language he combined linguistic,
photographic and graphic media. Symbols and photography were
largely interwoven. At times the photograph was reduced to geometric
forms, at times these forms were painted or drawn on the image. Texts
were used as counterpoints.

In subsequent years, Keresztes concentrated mainly on purely pho-
tographic work, although he remained faithful to his interest in minimal
images, cropped sections, geometric forms, simple symbols, and color
relationships. In the tradition of visualism, the incidental, for example a
colored area, is pushed to the center, drawing the eye to the incidental.
The picture Atlantis, Signals of Imagination from the year 1982 shows
just such a structured and colored relationship. It is also an example of

his talent for using close crop-
pings for making a picture come
to the point. Since handing his
professional studio over to his
son in 1992, he has devoted him-
self exclusively to subjects of his
own preference. RM

A Lajos Keresztes
Atlantis, Signals of
Imagination, 1982

Color Print
30.5x41. J cm
ML/F 1993/303

Cruber Donation

328 I Keresztes

Keresztes | 329

Kertesz, Andre

1894 Budapest
1985 New York

▼ Andre Kertesz
Esztergom, Hungary,
Swimmer, 1917

Gelatin silver print
79 x 24.7 cm
ML/T 1977/394

Gruber Collection

As a young man Andre Kertesz found a photographic manual in an at-
tic and decided to become a photographer. After the death of his father
however, he first attended the Academy of Commerce and, like his fos-
ter father, worked in the Budapest stock market. In 1913 he acquired his
first camera, an lea. In 1914 he served in the Austro-Hungarian army
One year later he began to work seriously as a photographer. He was
wounded and for a year was paralyzed. All of his negatives were des-
troyed in 1918 and he returned to the stock market. In 1922 he received
an honorary diploma from the Hungarian Association of Photography
Between 1922 and 1925 he lived in Paris, where he sold prints for 25
francs in order to make a living. Puring this time he began his collab-
oration with the Frankfurter lllustrierte, the Berliner lllustrirte, the Natio-
nale de Fiorenza, Sourire, Uhu, and Times. In Paris he began his series
Distortions. In 1927 he had his first solo exhibition and in 1928 met Bras-
sai", whom he introduced to photography. Kertesz acquired his first Lei-
ca and did documentaries for Vu. In 1933 he married Elisabeth Sali and
published his first book on children. Three years later he emigrated to
New York and signed a contract with Keystone. In 1937 his began his as-

sociation with Vogue, Harper's Bazaar, Collier's, Coronet, and many other
magazines. In 1944 he became an American citizen. He attempted to
bring over his negatives from Paris, but more than half were lost in
transit. From 1949 to 1962 he worked continuously for Conde Nast.

After a serious disease, Kertesz decided to cancel all his contracts
and work exclusively as a freelance photographer. In addition to many
honors, he received an honorary doctorate from the Royal College of Art
and he was also made a member of the French Legion of Honor. Many
Kertesz's photographs, for example The Fork, Esztergom, Swimmer,
? ark Ber >ch, or Mondrian's Atelier, are now among the most famous
Photographs of this century. RM

A Andre Kertesz
The Fork, 1928

Gelatin silver print
19.4 x 24 cm
ML/F 1977/381

Cruber Collection

330 I Kertesz

Kertesz | 331

► Andre Kertesz

Park Bench, 1962

Gelatin silver print
76. 6 x 24.7 cm
ML/F 1977/383
Gruber Collection

Kertesz | 333

332 I Kertesz

A Andre Kertesz
Avenue junot, 1927

Gelatin silver print
24.2xv3.6cm
ML/F 1977/389

Cruber Collection

► Andre Kertesz
Champs Elysees. 193°

Gelatin silver pnnt
24.5 x18 cm
ML/F 1977/384
Gruber Collection

334 I Kertesz

Kertesz | 335

Kiffl, Erika

1939 Karlsbad,
Western Bohemia
Lives in Dusseldorf

A Erika Kiffl
Untitled, from:
Stone Age, 1979

Gelatin silver print
22.5 x 22.5 cm
ML/F 1986/207

A.*- Erika Kiffl
Untitled, from: The
Kingdom of Signs -
Homage to Roland
Barthes, 1984

Gelatin silver print
So x 80 cm
ML/F 1986/179

Between 1957 and 1959 Erika Kiffl studied under Joseph Fassbender at
the Technical College of Krefeld. Thereafter, until 1961, she studied
graphic arts, layout and photography under Walter Breker at the Arts
Academy of Dusseldorf. Until 1965 she was art director of the magazine
Elegante Welt in Dusseldorf. Since 1978 she has been a freelance pho-
tographer. The Museum Ludwig owns several of her works of the late
seventies showing artists in their studios and still-life pictures. Erika
Kiffl has been dealing with this topic for 20 years. "Artists' studios and
what takes place there have always held an exceptional fascination
which both paralyzed and inspired me." In 1990 the "Rounds 1979 _
1989" was published, presenting a selection of over 600 photographic
works resulting from photos of this art academy. Scenes in studios ap-
pear sensitive and discreet. In particular when the artist is not pictured,
the atmosphere is shaped by work, transition, and openness. Erika
Kiffl's works reflect creativity, be it in the form of an unfinished piece of
art, an artist in motion, or material in a space. The works from the
group Stone Age show excerpts of sculptures photographed by her in
museums in Europe and the USA. By emphasizing a part of a sculpture
- a dynamic view from below or light cast over parts of it - stones ap-
pear to trade their static nature for a moment of dynamism in a tern
porary release from rigidity brought about by the photographer. AS

336 1 Kiffl

A * Erika Kiffl
Gerhard Richter,
'977

Ce l°tin silver print
}1 -S'?2. 5 cm
ML /F 1986/200

A Erika Kiffl
Joseph Beuys'
Studio. 1978

Gelatin silver print
22.5 x 22.$ cm
ML/F 1986/185

A A Erika Kiffl
Ulrike Rosenbach
during her Perfor-
mance: My Power is
my Lack of Power,
1978

Gelatin silver print
22.5 x 22.5 cm
ML/F 1986/182

A Erika Kiffl
Konrad Klapheck

Gelatin silver print
22.5 x 22.5 cm
ML/F 1986/194

Kiffl I 337

Kimura, Ihei

1901 Shitaya, Tokyo
1974 Tokyo

► Ihei Kimura
Basket Carriers, 1957
Gelatin silver print
26.2 x 17.2 em
ML/F 1977/389
C ruber Collection

T Ihei Kimura
Child in Playpen, 1957
Gelatin silver print
26x17 cm
ML/F 1977/401
Gruber Collection

Ihei Kimura learned photography in the autodidactic manner. In 1924
he opened his own photostudio in Nippori, Tokyo. Together with Iwata
Nakayama and Yasuo Nojima, both experimental photographers, he
founded Koga (photo image), a photographic journal. Right from the
publication of the first issue Koga was intended to be regarded as an in-
strument of pure photography - away from abstraction and experiments
without camera, but aimed at the world of objects and the art of realism
called "Shashin". In 1933, together with Yonosuke Natori, graphic artist
Hiroshi Hara and others, Kimura founded the "Nihon Kobo" (japan Stu-
dio) Association, which fostered the integration of photography with
other crafts. In the first exhibition of the "Nihon Kobo", group action
photographs by Kimura were shown. In so doing, the group promoted

photography as art for a specific
purpose. Within one year of the
group's founding, basic discus-
sions among group members led
to defections and new founda-
tions. Together with other de-
fectors, Kimura formed "Chuo
Kobo". Like "Nihon Kobo", this
group stood for realism and the
close connection between pho-
tography and society, but it took a
more radical stance. Following
the foundation of the Interna-
tional Society for Culture, an insti-
tution for the dissemination of
Japanese culture internationally,
Kimura became a member of the
photographic section in 1934- ln
1938 and between 1940 and 1944
Kimura was in Manchuria as a
war photographer. In the fifties
he worked as a reportage photo-
grapher on several trips to
Europe. MBT

'

338 I Kimura

Kimura | 339

Klauke, Jiirgen

1943 Kliding
Lives in Cologne

Jiirgen Klauke studied at the College of Art and Design in Cologne and
at first worked mainly in the field of drawing. In 1970 he began working
with photography, using himself as a model. In 1971, in his book / and I,
Day Drawings and Photographic Sequences, he provided an insight into
his work hitherto. He considered provocation to be an important tool
for compelling the consumer of art to contemplate. In his earlier self-
portraits he presented himself decorated with the accessories of a soci-
ety hungry for sex yet incapable of love. Remarkably early on he used
himself as an object of the androgynous, a topic which is currently ubi-
quitously dominant in society, the arts and media. He realized many of
his topics in the form of videos, but the photographic sequence re-
mained his central medium. From the very beginning, his sequences
dealt with questions of sexuality, the psyche, identity relative to the body
and its marketing, seeing his own body only as a stand-in and as an e
ample. Even political behavior, belief in authority and obedience play a
part in some of his sequences. Of essence, however, is also the humor
which has been added to serious subjects and which ultimately sug-
gests despair, as if laughter were the only way to deal with one's inabi
to effect change.

1

340 I Klauke

His cycle Formalizing Boredom, created between 1979 and 1980, was
Klauke's breakthrough to international fame. He developed a pictorial
language of stricter, yet less transparent rules of behavior that were
characterized by isolation and by an inability to communicate, but which
were followed by the protagonists who appeared in the pictures. This
was the first time he laid out his cycles in the form of multi-part, tabular
displays, which added a meditative and simultaneously prosaic tone. In
Klauke's art there is an exceptional congruence between work and per-
son or art and life, which other artists often labor strenuously to
achieve. With him this is a matter of course and effortless. Klauke fre-
quently gives the impression of being one of the last bastions of rebel-
lious resistance to the excessive laxness and comfort of present-day
society. His presence at his performance art has a persuasive effect,
because his art and its message are obviously important to him. One
°f his more recent cycles, Pro Securitas, for the first time distanced itself
omewhat more from his own person and, at the same time, pursued
1e goal of penetration and formal strength. By linking a skeletal reduc-
IOn of forms to monumental size, it is not only the self-portrait that
allows an association with relics. RM

A Jiirgen Klauke
Formalizing Bore-
dom, 1979-80

Gelatin silver print
each i8ox viocm
ML/F 1985/40 l-V

Klauke | 341

A Jiirgen Klauke

Self-performance,

'972/73

Gelatin silver print

each 56.8x41.9 cm

ML/F 1987/128

A Jiirgen Klauke
Self-portrait, from:
Pro Securitas. 1987

Celatin silver print
60.8x51.6 cm
ML/F 1993/304

Gruber Donation

342 I Klauke

Klauke | 343

Klein, Astrid

1951 Cologne
Lives in Cologne

Between 1973 and 1977 Astrid Klein attended college in Cologne. At the
beginning of the eighties, when she went public with her large-format
black-and-white works, she struck the nerve of the times. Just as it be-
came fashionable no longer to let photographs stand on their own, but
to edit and manipulate them, she presented photographic work that
made precise statements, that took a stand and that showed clear
reasons for having been manipulated.

Astrid Klein was not striving for painterly effects, for a blurring of
photographic contours, but edited her photographs in order to achieve
a greater clarity of content. She used mostly already printed, screened
images, related them to topics picked up by the tabloid press, cut then
out, enlarged, singled them out and reassembled them so that abstrac
or systematic relationships in the pictures would suddenly become
transparent and obvious. Still, there is always a disquieting residue, be-
cause editing is obvious, screening is too distinct and the authentic*

a straight photograph is lost. With her treatment, the message by the
press denounces itself as piecework, as pretense and as fiction, contain-
ing only fragments of truth. Astrid Klein has maintained and improved
this approach to her art for nearly two decades, at times scaled down
and then again enhanced and embellished. RM

A Astrid Klein
30.1.33. 1983

Gelatin silver print
126 x 345 cm
ML/F 1983/157

344 I Klein, A.

Klein, A. | 345

< Astrid Klein
Installation,
Kunsthaus Kassel,
1983

Gelatin silver print,

mixed media, wall

pointing

220 x 294.5 cm an d

220 x 290 cm

ML/F 1995/22

Donation
Prof. Jacobs

346 I Klein, A.

Klein, A. | 347

Klein, William

1928 New York
Lives in Paris

A William Klein
Rome, Guard at
Cinecitta, 1959

Gelatin silver print
27.4 x 30.4 cm
ML/F 1977/418

Gruber Collection

With his shots of the fifties and sixties, William Klein created an uncom-
promising rejection of the then prevailing rules of photography. His
artistic career began in 1948 in Paris, where he trained as a painter. He
discovered his passion for photography in the early fifties. Initially Klein
utilized it as an abstract tool of expression, but he soon became fascin-
ated with its possibilities for dealing with the real world. In 1954
Alexander Liberman, then art director at Vogue, hired the young photo-
grapher for his fashion magazine. This launched Klein's career as a
fashion photographer, a journey marked by his ambivalent and ironic
approach to the world of fashion. He did not want to continue with
mundane fashion poses, but wanted to take "at last real pictures, elim-
inating taboos and cliches". Klein worked with unconventional wide-

p. William Klein
iy ing Children
jj Gun, 1954/55

Cclotin silver print
23 x30.4 cm
ML/F 1977/419
Gruber Collection

■* William Klein
Tokyo, 1961

Celatin silver print
24 x 29.8 cm
ML/F 1977/411
Gruber Collection

348 I Klein, W.

Klein, W. | 349

< William Klein
Fashion, around
i960

Gelatin silver print
30.6 x 27. 9 cm
ML/F 1977/415
Cruber Collection

► William Klein
Japanese Action
Painter, 1961

Gelatin silver print
36.5 x 25 cm
ML/F 1977/406

Gruber Collection

350 I Klein, W.

Klein, W. | 351

&cjujs?c ffWkj (toff** ■ - 7 «"»*- «^ /5v«f^^rt>'

^^^■^^S^tfU^^^SfiUf ""* *""

angle and telephoto pictures, with unconventional lighting and flash
effects and with intentional motion blurs. Although he worked for Vogue
until 1966, he did not consider fashion photography to be his real call-
ing but rather what he calls "serious photographs". By that he meant
uncompromising, unadorned documentaries about large cities like New
York, Rome, Moscow, and Tokyo. Books about these cities enabled him
to enjoy great successes. Around 1961 Klein gave up still photography -
with the exception of a few jobs for newspapers and advertising - in fa-
vor of motion pictures. His politically committed and unconventionally
produced motion-picture contributions put him in the position of a
maverick. Only at the beginning of the eighties did Klein start to take
^ll pictures again. At this time his earlier shots were rediscovered and
given recognition. MBT

6iXf H/^i

A William Klein
Entrance to a Sumo
Arena, Tokyo, 1987

Gelatin silver print,
mixed medio

30.4 x 40.4 cm
ML/F 1994/194

Gruber Donation

41 William Klein
Backstage, 1988

Gelatin silver print

30.5 x 40.3 cm
ML/F 1993/306

Gruber Donation

-* William Klein
Backstage, 1985

Gelatin silver print
30.3 x 40.5 cm
ML/F 1993/307

Gruber Donation

352 I Klein, W.

Klein, W. | 353

< Barbara Klemm
Peter Handke, 1973

Gelatin silver print
2&5 x 39.5 cm
ML/F 1984/146

Cruber Donation

Klemm, Barbara

1939 Miinster
Lives in
Frankfurt on Main

Photojournalist Barbara Klemm received her training in a photographic
studio in Karlsruhe. At the beginning of 1959 she found employment
with the Frankfurter Allgemeine Zeitung (FAZ), starting as an engraver.
Since 1970 she has been a photographer on the editorial staff, con-
cerned mainly with the features section and politics. In this capacity
Barbara Klemm documents daily events in the fields of economics, pol-
itics, and culture. Her works are usually titled only with location and
year, a sign of her attitude of being an observer who participates, but
who does not take a superior stand by means of an unusual perspective.
Barbara Klemm's individual shots depict events of historical value and
political arenas which, despite their modesty, illustrate characteristic
moods of the moment. Her work, including the travel supplement of the
FAZ keeps this journalist frequently on the move. The collection in-
cludes the photograph Leonid Breschnev with Willy Brandt from 1973- The
people she photographs act unobserved, the camera appears not to 1
ist. Still, the situations captured by Barbara Klemm are distinguished by
their surprising perspectives and moments. Her method of cropping
gives a feeling of balance based on aspects of form and composition,
irrespective of the spontaneity of the moment when the picture was
taken. In the eighties, Barbara Klemm's portraits of artists revealed :
other dimension of her work. Her photographs of her father, the pain

354 I Klemm

p. Barbara Klemm
Fritz Klemm. 196S

Cclotin silver print

39.3 x 29- 'C'"
ML/Fi984/'47

Gruber Donation

Fritz Klemm, in 1968, of George Segal in 1971, and of Peter Handke in
] 973 place her subjects in their environment from a distance, conveying
an impression of their work and attitudes. LH

Klemm | 355

Koelbl, Herlinde

1939 Lindau
Lives in Munich

Herlinde Koelbl is a self-taught photographer who began taking pictures
in 1975. She has worked for magazines such as Stern, Zeit Magazin, New
York Times, and other illustrated magazines. As a photojournalist she
traveled to many countries and on one such occasion produced a docu-
mentary on the Intifada that included pictures reminiscent of Biblical
scenes.

Her artistic work has always focused on publications. The subjects
she chose were always treated with a view to publication. Her very first
book The German living Room created a sensation in 1980. Without dis-
closing their full names, she took pictures of well known as well as un-
known people in their homes providing a surprising look into their ex-
panded self". In her publication Fine People she removed the mask o
High Society after attending receptions, parties, gallery openings, and
fashion shows with her camera and by observing not the activities
themselves, but the people, their clothes and their behavior. In this way
the title proved to be ironic. The book revealed a broad spectrum of no
so fine appearances. Ranging from vain self-presentation and greed at

356 I Koelbl

the buffet to older gentlemen who surround themselves with decorative A Herlinde Koelbl

...... . . . Robert Mapple-

young women, Fine People is a book about human weaknesses and thorpe 1083

vices. „ . . ..

Celattn stiver print

One of her first picture cycles called Men caused a furor because it 22.7x22.6crn

depicted male nudes photographed by a woman. They showed clearly ' 19 5 ''°

that a woman photographs men in a different manner than a man. _ . „

_., or Gruber Donation

I his does not involve concentrating only on the gender. There are pho-
tographs of intellectuals with bodies untouched by body building, or
gentle photographs of old men. Herlinde Koelbl takes pictures not only
of bodies, body parts or skin surfaces; she takes pictures first and fore-
n ost of human beings, thereby making her male nudes significantly
lff erentfrom the ubiquitous female nudes.

ne of her most comprehensive and labor-intensive projects was
Jewish Portraits. Herlinde Koelbl did not restrict herself to finding Jewish
s °nalities of German intellectual history ail over the world in order to

make
dialo

Portraits of them. She created her portraits based on an intense
8. which required that she prepare herself thoroughly with the sub-

Koelbl 1 357

A Herlinde Koelbl
A Light Beat Con-
cerning the Subject
of Man, 1983

Gelatin silver print
15.2 x27 cm
ML/P 1993/317 A

Cruber Donation

► A Herlinde Koelbl
Gaza Strip. Intifada.
1987

Gelatin silver print
23.7x30.3 cm
ML/F 1993/313

Cruber Donation

► Herlinde Koelbl
Caza Strip, Intifada.
1987

Gelatin silver print
23.7 x 30.3 cm
ML/F 1993/312

Gruber Donation

stantial works of her subjects. As a result, Jewish Portraits became an
overview of still living German-speaking Jewish intellectual greats and
also an intelligent introduction to their work as provided by the records
of the conversations.

In her most recent, very brief and completely differently conceived
- large format - picture sequence of Turkey, she uses the subject of
slaughter as a reminder of old myths associated with that topic. Differ-
ent from the high-tech abattoirs in industrial countries, in the rural
areas of Turkey sheep and lambs are still slaughtered ritually as they
have been for hundreds of years. With a few large color pictures Her-
linde Koelbl seeks to awaken memories of such events in us. RM

358 I Koelbl

Koelbl I 359

< Les Krims
A Marxist View;
Madam Curious;
Bark Art; Art Bark
(for Art Park); a
Chinese Entertain-
ment: living's Pens;
Something to Look
at Spotting Upside
Down; Hollis's
Hersheys; and
4 Women Posing,
1984

45.2x34.Tcm
ML/F 1995/126

Uwe Scheid
Donation

Krims, Les

(Leslie Robert
Krims)

1942 New York
Lives in New York

Beginning in 1960, Les Krims studied fine arts at the Cooper Union
School of Art and Architecture and at the Pratt Institute in New York. He
began taking pictures at this time, and by 1966 he had had his first solo
exhibition. He held several teaching positions in photography at a
number of fine arts colleges. Since 1967 Krims has been working as a
freelance photographer. Between 1971 and 1972 he produced three con-
ceptual series, all published at the same time: Little People of America
describing people of short growth, The Deerslayers featuring hunters and
The Incredible Case of the Stack O'Wheat Murders on imaginary murders.
His works are provocative, sometimes exhibiting a rough, dark humor
and a disturbing mercilessness. His Polaroid shots of the project
Fictcryptokrimsographs of 1975 show his sexual fantasies. They are at
once grotesque and fascinating. Krims is provocative in order to bare
the complexities of the "American Way of Life" and thus to rub salt in
the wounds of the observer. AS

A Les Krims
The Static Electric
Effect of Minnie
Mouse On Mickey
Mouse Balloons,
1969

Gelatin silver print
11.4 x 77.2 cm
ML/F 1982/1086

•* Les Krims
Untitled (Mummy's
Teeth), 1971

Gelatin silver print
11.4x16.8 cm
ML/F 1982/1088

360 I Krims

Krims I 361

Krull, Germaine

i897Wilda-Posen,
Poland
1985 Wetzlar,
Germany

▼ Germaine Krull
Pont Transbordeur,
Marseille, 1926

Gelatin silver print
19.8 x 14.4 cm
ML/F 1980/2 XI

Germaine Krull left her home in 1916 and moved to Munich in order to
study photography. She opened her first portrait studio in Munich in
' 1919, and one year later she started one in Berlin. During subsequent
years Germaine Krull worked in Amsterdam for magazines such as Der
Querschnitt, Die Dame, and Variete. During her tours of the harbor, the
photographer was impressed by the gigantic cranes, which she photo-
graphed. When Germaine Krull moved to Paris in 1924, she first worked
as a fashion photographer, even though from the very beginning she
was interested in the observation of technical constructions and build-
ings. Germaine Krull's pictures of the Eiffel tower in Paris appeared in
the very first issue of the magazine Vu. She was one of the first women
photographers to create a new type of technical product without spec-
tacular imaging rhetoric. Her first book entitled Metall was published in

1927. Germaine Krull's friendship
with Sonia and Robert Delaunay,
Man Ray, Andre Kertesz, and Eli
Lotar created a foundation for
close cooperation at various
newspapers and on various pro-
jects. She received advertising
projects from Citroen and Colum-
bia Records. Similarly, she in-
sisted on unconventional realism
and shots capturing the moment.
During the War Germaine Krull
spent time in Brazil and Africa for
the organization "France Libre".
In 1946 she worked as a war cor-
respondent in Indochina. After
1965 she lived in seclusion in a
Tibetan enclave in Northern In-
dia, taking hardly any pictures at
all. Germaine Krull's last works
were small experimental color
photographs called "Silpagrams".
LH

Michel Szulc Krzyzanowski was born in the Netherlands in 1949 as the
son of Polish parents. Until 1969 he studied at the St. Joost Academy in
Breda and the Royal Academy at Den Bosch. After purchasing a Leica
M3 in 1970 he began to concentrate on two subjects. On one hand he
produced photographic sequences in black-and-white with details of
people in front of lonely landscapes, and on the other hand he devoted
himself to sociological reportage. In 1971 Krzyzanowski participated in
an exhibition for the first time. In the years that followed, he produced
sequences entitled Women in Camden, London, in 1972, People in the
Street, s'Hertogenbosch, and Living and Working, Aries, in 1974. The last
le refers to a sociological project by Krzyzanowski, for which he took
Pictures of the same man, at work and at home with his family, in sim-

"1

ar poses but with a changed social background. In 1976 he created the
sequence Being Naked, Amsterdam, and the series Neem nou Henny.
yzanowski's interest lies in social phenomena, which he examines in
3n ceptual manner and then brings into an aesthetic form. This as-
expressed in particular in his last work on authors in Surinam
ooted Words, where he expands the sequence into an essay. LH

Krzyzanowski,
Michel Szulc

1949 Oosterhout.

Netherlands

Lives in Amsterdam

A Michel Szulc
Krzyzanowski
Untitled (Nude
in the Water),
around 1985

Gelatin silver print
79.8 x 29 cm
ML/F 1993/322

Gruber Donation

362 I Krull

Krzyzanowski | 363

Uii!?i?!!^^!:!"J?.

>rf5

***^-

Kudojarow,
Boris

1898 Tashkent,
Usbekistan
1974 Moscow

A Boris Kudojarow
October Revolution
Celebration, around
1935-1940

Gelatin silver print
26 x 37 cm
ML/F i992/'53
Ludwig Collection

From 1917 to 1920 Boris Kudojarow was a member of the Red Army,
afterwords working for several years as an amateur photographer.
Starting in 1926 he became a professional photographer for Russfoto
(later Union-foto). In 1931 he became a foreign correspondent for the
magazine Sojusfoto. Between 1930 and 1932 Kudojarow was a member
of the "October" group, an association of artists of various genres and
different avant-garde media. Bold perspectives and cropping place his
photographic works of the thirties firmly in the tradition of photographic
Constructivism, stylistically oriented to the photographs of Alexander
Rodchenko and Boris Ignatowich. During the Second World War Kudo-
jarow became famous for his shots of life in beleaguered Leningrad
(now St. Petersburg). After the War he worked as a photojournalist for
TASS. MBT

A Boris Kudojarow
Dynamo Soccer
Came, around
'935-T940

Gelatin silver print
23. 6 x 38 cm
ML/F 1992/154

Ludwig Collection

< Boris Kudojarow
Five Young Sports-
women, 1930s

Gelatin silver print
26.2x40.1 cm
ML/F 1992/150

Ludwig Collection

364 I Kudojarow

Kudojarow | 365

y Heinrich Kuhn
Alfred StiegliK. 1907

Cum bichromate

print

29.6x23.2 cm
ML/F 1977/426

Cruber Collection

* Boris Kudojarow
Dakistanes Sitting
with Legs Crossed
and Drinking Tea,
around 1935- 1 939

Gelatin silver print
36.3 x 25.7 cm
ML/F 1992/155

Ludwig Collection

Already during his school years, at the age of 13, Heinrich Kuhn con-
ducted his first photographic experiments by casting collodion plates
himself and printing his pictures on salt paper. In 1894 at the "Vienna
Camera Club" he met photographers Hugo Henneberg and Hans
Watzek. From this meeting evolved a lively and close cooperation. To-
gether they perfected printing with precious materials and introduced
color gum bichromate printing into artistic photography. Beginning in
l8 97 they signed their photographs with a clover leaf. Alfred Stieglitz,
among others, was an important partner for Kuhn in the exchange of
ld eas, because both fought for the ideas of artistic photography. Later
)f i their views evolved in different directions. Stieglitz was open to pho-
tographic trends influenced by modern art, whereas Kuhn appeared to
leretohis ideas that meanwhile had become conventional. In 1914
Ku hn attempted to pass on his endeavors by founding a school for
art 'stic photography. MBT

Kuhn, Heinrich

1866 Dresden
1944 Birgitz, near
Innsbruck

366 I Kudajarow

Kuhn I 367

368 | Kuhn

A Heinrich Kuhn
Miss Mary, 1908

Cum bichromate print
29.3x23.6 cm
ML/F 1977/425

Gruber Collection

► Hans-Wurf Kunze

F,om: Living Spaces,

19S2

Gelatin silver print

23.9*35-5""

ML/F m'/^ 6

Hans-Wulf Kunze grew up in Magdeburg. Between 1977 and 1982 he
studied photography under Helfried Strauis at the College for Graphic
Design and Book Art in Leipzig. Then he worked as a freelance photo-
grapher in Magdeburg. During this time he created his photographic
series Living Spaces, in which he offered a spotlight-like insight into the
living conditions of people in the former German Democratic Republic
(GDR). Kunze developed a photographic concept built on the official
doctrine of documentary photography, but with a different outlook.
There is no longer a trace of the glorification of the feats of Socialism
and a depiction of happy people. His perspective is subjectively critical,
letone of his photographs always gloomy. Kunze created a somber
Picture of society in the GDR. Beyond the general image of the GDR, he
-alt with specific projects in those years, in particular the photographic

lle nge of various factories and the Mansfeld Combine. In 1991, to-
cher with the author Ludwig Schumann he launched the project Bor-
er Spaces. In 7992 he continued his studies under Helfried Straufs at
1 College for Graphic Design and Book Art in Leizpig. RM

Kunze,
Hans-Wulf

1955 Dresden
Lives in Magdeburg

Kunze | 369

Lange,
Dorothea

1895 Hoboken,

New Jersey

1965 San Francisco

A Dorothea Lange
Field Worker,
Texas. 1936

Gelatin silver print
245 x 32.5 cm
ML/F 1977/440

Cruber Collection

370 I Lange

"Hands off! I do not molest what I photograph, I do not meddle and
I do not arrange." That was one of the principles of American photo-
grapher Dorothea Lange, whose work has provided one of the most
committed social documentaries of photography in the 20th century.
Following her studies at Columbia University in New York under
Clarence H. White between 1917 and 1919, Dorothea Lange started out
as an independent portrait photographer in San Francisco. Shocked by
the number of homeless people in search of work during the Great De-
pression, she decided to take pictures of people in the street to draw at-
tention to their plight. In 1935 she joined the Farm Security Administra-
tion (FSA) and reported on living conditions in the rural areas of the
USA. In an unflinchingly direct manner she documented the bitter pov-
erty of migrant workers and their families. Dorothea Lange's pictures
not only showed the hopelessness and despair, but also the pride and
dignity with which people endured their circumstances. One of the
most famous and most frequently published photographs of the F

A Dorothea Lange
Migrant Mother.
California, 1936

Gelatin silver print
32.8X 26.1 cm
ML/F '977/442

Lange | 371

-« Dorothea Lange
Toqueville. Utah.
1Q 53

Gelatin silver pn,;'.
25.Sx22.4cm
ML/F 1977/437

Cruber Collection

project is Migrant Mother, the portrait of a Californian migrant worker
with her three children. The face of the young woman is marked by
wrinkles, the gaze full of worry directed in the distance. To the right
and left the two older children, seeking protection, lean against her
shoulders, hiding their faces from the camera, while the small baby has
fallen asleep on its mother's lap. This highly concentrated, tightly com-
posed image has made Dorothea Lange an icon of socially committed
photography. MBT

372 J Lange

A Dorothea Lange
White Angel Bread-
line, 1933

Gelatin silver print
31.1x25.6 cm
ML/F 1977/435
Cruber Collection

Lan ge I 373

Lartigue,
Jacques-Henri

1894 Courbevoie,

France

1986 Nice

A Jacques-Henri

Lartigue

Delaye Grand Prix.

1912

Gelatin silver print
20.8 x 18.7 cm
ML/F 1977/43'
Cruber Collection

"People say: 'I do not trust my eyes'. Myself, I always trust them, my
eyes. But there are days when they bring me slightly too much aston-
ishment." This was expressed by French photographer Jacques-Henri
Lartigue at the age of only 15. His father, a passionate amateur photo-
grapher, introduced him to photography when he was only six years of
age and had him take his first pictures. Two years later he received his
first camera as a gift. From then on he recorded everything he liked.
This included the remarkable activities and hobbies of the well-to-do
Lartigue family, such as kite-flying, racing with automobiles, home-
made motorcycles and steerable bobsleds. Equipped with increasingly
better and more sophisticated cameras, Lartigue was able to take his
first action shots in 1904. He was particularly fascinated by the possibil-
ity of freezing motion in a picture. Accordingly, he photographed friends,
members of his family or the household staff at play with a ball, hunting
butterflies, playing tennis or simply jumping in the air. Another subject
he pursued with passion was airplanes. Between 1908 and 1910 he cre-
ated a collection of shots of all types of airplanes and numerous pion-

A Jacques-Henri

Lartigue

Bois de Boulogne,

1911

Celotin silver print
27. ix 29.2 cm
ML/F 1977/430

Cruber Collection

< Jacques-Henri
Lartigue
Auteuil, 1912

Celotin silver print
22.2 x 29.1 cm
ML/ F 1977/433
Gruber Collection

374 I Lartigue

Lartigue | 375

A Jacques-Henri

Lartigue

Zissou is flying, 1910

Celotin silver print
22.3 x 28.9 cm
ML/F 1977/428

Cruber Collection

eers of aviation. When the family moved to Pairs in 1911, Lartigue dis-
covered the eccentric world of fashion in the Bois de Boulogne. Cour-
tesans, worldly ladies and actresses became his favorite subjects. In
1915 Lartigue decided to become a painter, which was not, however, a
detriment to his enthusiasm for photography. More and more he de-
veloped into a photographic chronicler of society and cultural life, which
he captured beginning with the Belle Epoque, through Art D£co and
into the eighties. In 1963 Lartigue's work was honored with a large
solo exhibition in the Museum of Modern Art in New York. As a result,
his photographic activities were also recognized internationally be-
cause, significantly, this retrospective was dedicated not to Lartigue the
painter but to Lartigue the photographer. MBT

376 I Lartigue

Lawler, Louise

1947 Bronxville,

New York

Lives in New York

▼ Louise Lawler
Two Pictures, 1992

Gelatin silver print
42x55 cm
ML/F 1994/43

Ludwig Collection

Louise Lawler belongs to a generation of post-modern artists who reveal
the position of art and its mechanisms in modern society. The main
topic of her works is the presentation of art in the context of the world
of art. In her photographic "picture collages" she shows, for example,
works of art in public and private environments and, in so doing, refers
to the place of art and artist's place in the market economy. The artist
introduces a gallery, a museum or a private collection, whereas usually
the opposite applies. She brings the social traditions of art to the fore- J
ground - features which determine the function, location, and import-
ance of a piece of art. Photographs such as these, which document the
"Arrangement of Pictures" in private or museum collections, illustrate
the societal purpose to which art is subjected once it has left the artist's
studio. When these so-called installation photographs are shown in mu-
seums or private collections, i.e., when the documentation itself be-
comes art, the problems involved assume an additional dimension.
Who should be credited with the work? The artist herself or the artists
whose works are depicted in the photograph? Or possibly the museum
which acquired the works and has arranged them in a different context?

■

^ Louise Lawler
Tw0 Pictu«*. '994

Gelatin silver pn»t

47*S5 cm
ML/F i994/4b

Ludwig Collection

In this way the mechanisms of presentation are questioned, and the
claim of originality has become irrelevant. The reversal of roles illus-
trated by Louise Lawler's installations and photographic works, how-
ever, is of a symbolic nature because it still takes place within a tradi-
tional context of art. The relationship between artist and institution is
reflected and questioned, but it remains intact. Like a spy, the photo-
grapher sabotages the mechanisms of museum presentation of art. At
the same time, however, her own works take these mechanisms into ac-
count. "An exhibition, that is the selection of pieces of art by a curator, is
based on work which has already been accomplished. I believe that the
work of an artist is part of a cumulative endeavor. It is 'made possible',
Presented/recognized by the dominant culture. It is victim (product) as
We " a s perpetrator (producer)", writes Louise Lawler. CC

378 I Lawler

Lawler | 379

Lazi, Franz

1922 Stuttgart
Lives in Stuttgart

▼ Franz Lazi

Willi Baumeister,
'955

Gelatin silver print
29 x23.2 cm
ML/F 1977/960

Cruber Donation

Franz Lazi completed his apprenticeship in photography under his
father, Adolf Lazi, who is considered to be the "old master" of large-
format object photography and who founded the Lazi School in 1950.
After completing his training, Franz Lazi was in military service from
1941 to 1945 and an American prisoner of war until 1947. The richness
of his understanding and experience is owed to extended studies in th«
USA. In 1947 he earned his master's diploma in Stuttgart and began
working out of his own studio as an independent industrial and advert- 1
ising photographer. He is a member of the German Society of Photo-
graphers, the German Society for Photography and many international
photographic associations. The portrait he made of Willi Baumeister
substantiates Franz Lazi's interest in dealing with art and the artist. His
partially cropped face becomes part of an abstract composition that es-|
tablishes a relationship with the work of Willi Baumeister. For his many
photographic works produced outside Germany, Lazi has received the
German Federal Cross of Merit. In addition to participating in many ex-
hibitions he has given lectures in J
Great Britain, Northern Ireland,
Switzerland, and the USA. Since
1965 Lazi has also devoted him-
self to motion pictures, produc-
ing experimental and advertising
films, films for television, and
films of virgin landscapes. His
shots of volcanic eruptions were
carried out under sometimes life-
threatening conditions, resulting
in fascinating images. During this
time he has traveled throughout
the world, including Greenland
and the Antarctic. In 1979 he pub-
lished his book Antarctic. He be-
gan taking pictures early on, in
particular in color: "I was one of
the first photographers after the
war who developed their color
films themselves." AS

380 J Lazi

,

„ Robert Lebeck
joseph Beuys.^ 68
Celatin^r print
i0 . 5 * 20.2 cm
ML/F 1977/456
Cruber Collection

Robert Lebeck studied political science in Zurich and in New York. His
23rd birthday was a turning point in his life. On that day his wife pre-
sented him with a Retina 1A camera. On July 15 1952, Lebeck had his
first photograph published in the HeidelbergerTagesblatt. His first great
success came in 1955 - the publication of a report in Revue magazine.
The same year he was appointed director of the Frankfurt office of
Revue. His breakthrough came in i960, in Africa, with his work for
Kristall magazine. In 1966 Lebeck joined Stem.

His earlier photographic documentaries in black and white and his
la ter ones in color were produced by this self-taught photographer with
a minimum of technology. Pictures like The Stolen Sabre or Robert
Kennedy's Funeral went around the world. Lebeck's photography charac-
terized the style of Stem photojournalism in a lasting manner. NZ

Lebeck, Robert

1929 Berlin
Lives in Port de
Richard, France

Lebeck | 381

Gelatin silver print
50.JX 60.7 cm
ML/F 1991/256

► Robert Lebeck
Robert Kennedy's
Funeral, 1968

Gelatin silver print
23-9 x 30.4 cm
ML/F 7988/61

Cruber Donation

382 I Lebeck

a Robert Lebeck

Jayne Mansfield, Berlin, 1961

Gelatin silver print, 61.4 x 50.7 cm

ML/Fiqqi/257

Lebeck | 383

Lechtape, Edith

1924 Heme

Lives in Strasbourg

▼ Edith Lechtape
LXVIII/10, 1983

Gelatin silver print
57 x49.3cm

ML/F 1990/236

Between 1941 and 1942 Edith Lechtape trained as an actress under
Heinz Moog in Bochum. Afterwards she worked for one year at the Ger-
man Theater Lille, then at the National Theater in Weimar, the People's
Stage in Dresden and the State Theater in Dresden. In the mid-fifties
she acted at the Hamburg Studio Theaters and on the city stages of
Bochum, Dortmund, Essen, and Wuppertal. She played mostly charac-
ter roles. For example, she played the parts of Clytemnestra and Mother
Courage.

In 1967 she met Antoine Weber, who had been taking an interest in
photographic techniques for 20 years. He encouraged Edith Lechtape to
turn to photography as well. Since 1972 they have created painted-over
and drawn-over photographs. Edith Lechtape went public for the first
time at an exhibition in 1974. In 1977 she developed her first sculpture-
pictures, which are collages of portrait sculptures which she had pho-
tographed. These works incorporate predominantly the parts of her face
- eyes and mouth. The works were first shown at an exhibition in 1978.
After Weber's death in 1979 she continued her photographic work by
herself. Her assembled works appear to resemble a conglomeration of

bunched-up paper more than a
planned collage. Eyes, mouth,
and nose are the only constants.
She sees her self-portraits as an
extension of her acting, an act of
change and disguise, slipping
into the most varied faces. RM

A Edith Lechtape
LXV/4/Z 6 U. 1983

Gelatin silver print
50.6x47.9 cm
ML/F 1990/232

384 I Lechtape

Lechtape | 385

i< Asraan

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butrent a asacabrir oette p'.-riode ae sa via.

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le meilleur ouvrege coaaaoH 0. I'.=.rtiste.-
"... J'-Jtain tra3 J,eur.o et arSt h 5::« i-.vreasionne
dursbleaent oar n'i-ocrte quelle fozme d'art quand
le hssani xe fit passer devant la vi trine J 'an -a>
ohani de tableaux."

US FSlXTiS natKBffBZ :
Jette unisue photo prise par le peintre
d*\m long voyage develt beauooup asuser -•
quand la pi^cie'Jse pellicule une fois 41 •
fus docouverte presoue vierge !

Le Cac, Jean

1936 Ales, France
Lives in Paris

jean Le Gac belongs to a subgroup of Concept Art which became known
in the seventies in New York as narrative or story-telling art. On numer-
ous trips the French artist composed diaries and records, documents or
the remarkable and everyday. Between 1968 and 1971 his art consisted
of performance, travel, and activities documented with photographs,
picture postcards, and texts in so-called "notebooks". In the seventies
he shifted his interest to the problems of reality and fiction, on which
Gac produced ironic comments, for example, by intertwining his own
biography with the fictitious character of Florent Max. In his series Tm
Scabious Painter (1977) he combined photographs and writing. "In x

. dcxiks
y I5SUSZ ( ttnistere)

na on retrouva tout en
our un banc, terrorise
■ \*:o Uona i

•* ~ ■:- ':-■

LA KAKE ?A.i RfcPS :S N=3uS(Photo conserve* par 1a foaille)
C'est l&.qu'uoe nui:,ils virent eu -noteot de io poe-
ts uns telle procession de orap&uds o^e le peintre
pleln de rt-'pugrisr.ce.T&uI-j.t quwid :eie frsnohlr 1'
obstacle a srandes frtb&rdees.vit le Jeur.e Jtorgo
descend™ de la voitare et cone un petit d.'non,*-
cnrtor du chouin a pleines -sains loc vtrons vivas ts.

YU 323 JOSPAftrS L'EM ACTOEL DO JAJS1B3?
Lo 6 avrii 1951 c'est ce cet endroit.ca'asais les
ptedc dane le vide et dessinant sur un carnet ce
lii'ils appelaient "Los Str^nges figures du Jarcin
Roquea , ' t qu , un cenarade ie lye^e du peincre tcaoa
acddeotelleaent et ae tua.

In guistic forms of everyday media and tools of illustration he makes the

ierver a detective in search of the artist's fictitious 'vocation'. He

the photograph as a means for reporting and, with the installation

m as a tool for simulation, can disclose events, encounters, mem-

'scussed by the corresponding text without disclosing the ficti-

OUs Painter'." (Quoted from: Jean Le Gac, "The Phantom Painter",
^z). CC

A Jean Le Cac

The Scabious Painter,

1977

Color Print

85.5 x S5.5 cm

ML/F 1979/1353 l-VIII

386 I Le Cac

Le Gac I 387

Leibovitz, Annie

1949 Warterbury,
Connecticut
Lives in New York

Annie Leibovitz spent her childhood and youth in different states of the
USA. During this time she experienced her first significant encounter
with photography by way of her family's photo albums. Her earliest role
models among prominent photographers were Henri Cartier-Bresson
and Jacques-Henri Lartigue. In 1970 Annie Leibovitz began her studies
of fine arts and photography at the San Francisco Art Institute. In the
same year she submitted a portfolio to the art director of Rolling Stone
magazine, Robert Ingsbury, and scored her first success. Jann Wenner,
publisher of the magazine, took the young photographer with him to
New York, where she was to take pictures during an interview with John
Lennon. Within one month her Lennon portraits were published on
the cover of Rolling Stone. In 1973 Annie Leibovitz became chief photo-
grapher of this magazine until she switched to Vanity Fair'm 1983.

"It is really fun to take pictures with me. Sometimes I put people
in mud. Sometimes I hang them from the ceiling." This is how Annie
Leibovitz sees herself working. Indeed, her portraits of stars from the
world of music, motion pictures, the theater, the arts, literature or politics
catch the eye because of their original, lively arrangements. She does
not portray a sober, serious hailing of the stars, rather she adds a dose
of wit, humor, and irony to the picture. Annie Leibovitz, who is currently
considered the American photographer of the stars, prepares her por-
trait sessions very meticulously and usually consults with her subjects
many days prior to the portrait appointment date. Only because of her
intense and personal interaction with her models is this photographer
successful in cajoling her subjects into the desired, frequently fun and
humorous poses. "When I say I want to take a picture of someone, it
really means I want to get to know that person."

Annie Leibovitz' photographic sequence of the collector couple
Renate and L. Fritz Cruber is undoubtedly an unusual example of her
work: she dispenses with all elaborate staging and captures the lovingly
embracing couple with an apparently spontaneous "snapshot". MBT

,. Annie Leibovitz
Renate and L Fritz
Cube-, 1989
Cdatin silver prints
j photographs.

ca ch^' ll S- 2Cr "
ML/F 1993/324-326

Cruber Donation

388 I Leibovitz

Leibovitz | 389

Le Va, Barry

1941 Long Beach,

California

Lives in New York

A ► Barry Le Va
Extensions, 1971

Gelotin silver prints
18 photographs,
each 16 x 23.5 cm
ML/F 1985/38

The art of Barry Le Va does not readily follow any particular direction or
movement. Rather it is related to ideas and questions posed in other
areas such as psychology, physics, or architecture. Between 1969 and
1971 Le Va worked with photography in exterior space. In this context
he explored problems of dimensions, the location of the observer, the
determination of locality, and position. Le Va's concern was "to use an
external situation which is normally not viewed as a cohesive form or
mass and create a consciousness for its essential elements - volume,
edges, height, length, width - by means of one specific act which I
would shoot from different distances" (Le Va). Such "landscape" work
represents the attempt to move as far away as possible from the pro-
duction of objects. The problem of the continuum of space and time
plays an important part in this case because this continuum cannot be
captured in a physical object. In this manner the process of seeing be-
comes a subject of its art. It deals with the expansion of the sculptural,
which allows a comparison of his work with that of his sculptor-col-
leagues Richard Serra, Carl Andre, or Robert Morris. CG

390 I Le Va

Le Va I 391

Leve, Manfred

1936 Trier

Lives in Nuremberg

■*< Manfred Leve
Prepared WC, from:

Exposition of Music
Parnass Gallery,
Wuppertal, 1963

Gelatin silver print
23.8 x 76.2 cm
ML/F 1986/97

< Manfred Leve
Random Access with
Magnetic Head,
from: Exposition of
Music. Parnass
Gallery, Wuppertal.
1963

Gelatin silver print
23.8x16.2 cm
ML/F 1986/101

Manfred Leve grew up in Dusseldorf and studied law, Middle Eastern
cultures, art history, and philosophy at universities in Cologne, Freiburg,
Munich, and Berlin. Since then he has been working as a lawyer. He is
currently employed at the Federal Institute of Labor in Nuremberg.

He has been interested in the arts since his youth and he began ob-
serving the art scene in Dusseldorf in his early school days. He already
enjoyed photography during those years and began to record art events
with his camera. He gained contact with artists and became friends with
Sigmar Polke, whose life and work he has documented extensively. He
attended the performance and Fluxus concerts at the gallery Parnass in
Wuppertal and recorded these unrepeatable events. In the course ofthe
years he developed a comprehensive archive ofthe art scene around
Dusseldorf, including artists' portraits, openings, and performance.
Leve's coarse-grained images focus on the fleeting, transient aspects of
the moment, and they show that photography is the only medium that
can prolong the lifespan of an art event. RM

A A Manfred Leve
Wolf Vostell at Paik's
Record-Shashlik,
from: Exposition of
Music, Parnass
Caller)'. Wuppertal,
1963

Gelotm silver print
'iSxifocm
ML/F 1986/125

A Manfred Leve
Untitled, from: Expo-
sition of Music, Par-
nass Gallery, Wup-
pertal. 1963

Gelatin silver print
16.2 x 23.8 cm
ML/F 1986/127

A A Manfred Leve
Untitled, from: Expo-
sition of Music, Par-
nass Gallery, Wup-
pertal, 1963

Gelatin silver print
16.2x23.8 cm
ML/F 1986/119

A Manfred Leve
Nam June Paik,
Karl Otto Gotz,
from: Exposition of
Music. Parnass
Gallery. Wuppertal,
1963

Gelatin silver print
16.2x23.8 cm
ML/F 1986/106

392 I Leve

* Man ^ed Leve

-"-■-■ '986
&* print

^'986/2,5

A Manfred Leve
Sound Object, 1986

Gelatin silver print
16.2x23.8 cm
ML/F 1986/117

Leve I 393

Lissitzky, El

1890 Portchinok,
near Smolensk
1941 Moscow

A El Lissitzky
Composition with
Spoon, around 1924

Gelatin silver print
23.4 x 29 cm
ML/F 1979/1404

Ludwig Collection

As early as the twenties El Lissitzky was one of the outstanding artists of
the Russian avant-garde. Trained as an architect, he made a name for
himself in painting, typography and photography as an innovative intel-
lectual, contributing significantly to the implementation and dissemina-
tion of constructivist and suprematist ideas. He became famous for his
Proun work. Proun was a "project to affirm the new", with which Lissitz-
ky envisioned the Utopia of constructing a new space which was also
intended to be the symbolic image of a new societal order to be estab-
lished.

Lissitzky experimented in the field of photography from the early
twenties and he was mainly interested in photomontages and photo- .
grams. He arranged preferably everyday objects such as spoons, pliers,
glasses, and lace doilies on photographic paper, but unlike Laszlo
Moholy-Nagy, he did not attempt to create an immaterial light space, n
an article published in 1929 he summarized his ideas on photogram

methodology, in which he acknowledged the greater expressive force of
photographic images: "The language of photography is not the lan-
guage of the painter, and the photograph has properties which are not

cessible to painters. These properties are intrinsic in the photographic
material itself and must be developed if photography is to be turned
m to art, into a photogram."

Lissitzky utilized photograms and montages to design advertise-
rs and posters. One of his most monumental projects in the area of
otomontage was the photographic frieze he assembled of newspaper
P'ngs and photographs for the Soviet pavilion at the international
* exhibition "Pressa" in Cologne (1928). MBT

a El Lissitzky
Composition with
Pliers, around 1924

Gelatin silver print
23.4x29.1 cm
ML/F 1979/1405

Ludwig Collection

394 J Lissitzky

Lissitzky J 395

List, Herbert

1903 Hamburg
1975 Munich

▼ Herbert List
Athens, 1937

Gelatin silver print
jo.7x23.8cm
ML/F 1977/972

Cruber Donation

Herbert List entered photographic history as a master of the "foto-
grafia metafisica". He started out with an apprenticeship in business
and, between 1926 and 1928, traveled to South American coffee planta-
tions, before returning to work as an attorney and partner in his father's
business in Hamburg. Besides his profession he was always interested
in the artistic life of his environment. At the end of the twenties he dis-
covered his passion for photography. His friend Andreas Feininger, who
had just completed his architectural studies at the Bauhaus, introduced
him to the technical fundamentals of his field. Fascinated by the paint-
ings of the Surrealists, List took advantage of their ideas and magical
image changes in his photographs. He placed objects in alien, unfamil-
iar contexts or staged encounters between uprooted fragments of reality
and attempted "to capture the magic of appearance in the picture". In
1936 political circumstances forced List to leave Germany, his home.
Without means he went to London and made his hobby his profession.
Already by the end of the thirties he could record a breakthrough as a

successful photographer. In 1937
List and photographer George
Hoyningen-Huene traveled to
Greece. List's interest in Greek
mythology and his preference for
Surrealism were especially nur-
tured among antique ruins. On
Lycabettos' hill in Athens he shot
a series on the topic of covering
and uncovering. An individual
covered in a white robe posed in
the habit of theatrical stage ap-
pearances in the landscape and
played with the ambiguity of front
and back, male and female. In the
case of the picture shown here,
List allowed confusion to reign
supreme by using a mirror to play
reality and its mirror image

against each other.

After the War List returned to

Germany and settled in Munich,

a Herbert List
Santorin, 1937

Gelatin silver print
28.5 x 23.1 cm
ML/F 1977/969

Cruber Donation

396 I List

List I 397

■I

#..

A Herbert List
Lycabettos, 1937

Celatin silver print
2S.7x23.2crw
ML/F 1977/971
Gruber Donation

t. Herbert List
George Hoyningen-
Huene. Glyphada,
'937
Gdotiniil>>" print

2 S9'V-S cm
ML/F 1977/968

Gruber Donation

aln g it as a base for many trips in the years that followed. In 1962
gave up photography and devoted himself to the collection and
,de ntification of Italian drawings. MBT

398 I List

List I 399

Lohse, Bernd

1911 Dresden
1995 Burghausen

A Bernd Lohse
That's Life in the
USA, 1937

Gelatin silver print
16.7 x 23.4 cm
ML/F 1989/94

► Bernd Lohse
Bookkeeper at the
Minolta Company,
Osaka, 1951

Gelatin silver print
39 x 2S.5 cm
ML/F 1985/147

By the age of 14 Bernd Lohse had already established himself as a pic-
ture and text author on the subject of photography. Following his stud-
ies he began training at Scherl, a large publishing house, where he soon
advanced to editor in picture services. His photographic essays ap-
peared mostly in the Neue IZ and in the Berliner lllustrirte. Soon Lohse
was part of a small group of top-notch German reporters.

His topics never included sensational events or the world of politi-
cians and the famous. Instead he strove to present the reader with the
characteristics of everyday life in other countries. During World War II
Lohse was drafted as a photojournalism He was wounded and dis-
charged before the war ended, and he moved to Bavaria.

There, in 1946, he was hired as editor of Heute magazine. In addi-
tion, he produced the Foto-Spiegel and later Foto-Magazin for Heering, a
publishing house. As a reporter he toured Japan, Korea, the USA, and
numerous other countries.

In 1955 Lohse became chief editor at a book-publishing company. I"
addition, in 1964, he and Walter Boje became editors of Photoblcitter ana
later of the Bildjournalist. After retiring, Lohse devoted himself mostly to

400 I Lohse

Lohse I 401

4 Bemd Lohse
Old Scotland Lives,

>93 6

Celatin silver print

ML./F '989/97

► Bernd Lohse
french Married
Couple, 193 8
Gelatin silver print
2}3*V5 cm
ML/F '9 8 9/93

book reviews. Today his library, the "Visual Collection", is part of the
Photographic library of the Museum Ludwig in Cologne. RM

WM m

402 I Lohse

Lohse I 403

Lynes,
George Piatt

1907 Easl Orange.
New Jersey
1955 New York

A George Piatt

Lynes

Henri Cartier-

Bresson. around

1930

Gelatin silver print
19.7 x 23 cm
ML/F 1977/473
Gruber Collection

Before becoming interested in photography, George Piatt Lynes was fas-
cinated by the idea of becoming a writer. He sought contact with the lit-
erary avant-garde and, in the twenties, set out to write a novel. In 1925,
at the age of 18, he took his first trip to France and, while staying in
Paris, became friends with Gertrude Stein, Jean Cocteau, and the
painter Pavel Tchelitchew. A desire emerged in him to become the pub-
lisher of the most important authors of his time. After his return to New
York he actually did publish books by Gertrude Stein, Rene Crevel, and
Ernest Hemingway. In 1927 Lynes, under the guidance of a local profes
sional photographer, began to take pictures of his numerous famous
friends. A year later he exhibited these portraits in his Park Place Boo
Shop. Photography gradually became his profession, and in 1932 h
able to open his first professional studio in New York. One year late
began to publish his portraits and fashion shots in magazines sue

404 I Lynes

A George Piatt Lynes

Two Nudes, around 1940

Gelatin silver print
24. 2 x19.5 cm
ML/F 1977/482

Gruber Collection

Lynes | 405

Town and Country, Harper's Bazaar, and Vogue. Lynes' style took its lead
from the European avant-garde and, in particular, Surrealism. In 1942
Lynes left New York, moved to Hollywood and became director of the
Vogue studio. In 1947, deeply in debt, he returned to New York. Lynes
3S una ble to regain his earlier commercial success and wealth. During

later years Lynes focused increasingly on erotic male nudes. This

nought him neither compensation nor fame, but it increasingly con-

u ed to dominate his work. Just before his death Lynes destroyed a

5 num berof his negatives and archived documents because he

- d that many of his photographs might be misunderstood. MBT

* George Piatt

Lynes

Nude in the Mirror.

around 1945

Gelatin sifaer print
79.4 x 24.1 cm
ML/F 1977/470

Gruber Collection

406 I Lynes

* George Piatt Lynes
Female Nude by a
Stone Block, 1944

Gelatin silver print
25.1 x 20. 3 cm
ML/F 1977/472

Gruber Collection

Lynes | 407

Macku, Michal

1963 Bruntal,
Czech Republic
Lives in Olomouc

▲ Michal Macku
Untitled (No. 6).
1989

Gelatin silver print
51.5 x 64. s cm
ML/F 1991/101

Michal Macku studied at the Technical Faculty of the Technical College
at Brno and then worked at the Sigma Research Institute in Olomouc.
Between 1986 and 1989 he studied photography in Prague and at the
Public College of Fine Arts in Olomouc. Macku is one of the young
Czech photographers who, following their first public exposure in Eur-
ope as part of the exhibition "Contemporary Czechoslovak Photo-
graphy" at the Museum Ludwig in Cologne, were met with immediate
enthusiasm and then passed on from one festival to the next, receiving
numerous invitations to exhibitions. His pictures of naked people in
stretched poses are indeed impressive: the photosensitive layer ot trie
photographic paper has been peeled off, creased, and replaced to give
the appearance that the subject's skin has been removed. Macku s e
pressive experimental photography struck many people's core o
existential fears in a time of political and economic change. RM

Gelatin silver print
36.8x47.8 cm
ML/F 1995/124

Uwe Scheid
Donation

■* Michal Mackii
Untitled, 1989

Gelatin silver print
49 x 63 cm
ML/F 1995/248

Uwe Scheid
Donation

408 I Mackii

Macku I 409

Mahn, Eva

1947 Aschersleben,

Germany

Lives in Halle/Saale

•* Eva Mahn
From: Shadow
Images, 1983

Gelatin silver pri n

4S.Tx48.1cm

ML/Fi99 5/123

Uwe Scheid
Donation

Between 1965 and 1970 Eva Mahn studied art history, history, and art
pedagogy at Ernst-Moritz-Arndt University in Greifswald and at the Uni-
versity of Leipzig. Then she became an academic assistant in the de-
partments of teaching, research, and publications at the College of Fine
Arts and Design, Burg Giebichenstein in Halle. After earning her doctor-
ate she became director of the art collection at the college. Between 1969
and 1974 she collaborated with Gunter Rossler in the area of photo-
graphy and since then she has been active as an independent photo-
grapher. For a while she concentrated on erotic photography and on the
subject of shadow images. Between 1977 and 1984 she worked for the
cultural monthly Das Magazin, designed posters, theater programs, and
worked in the pharmaceutical industry. Between 1992 and 1993 she par-
ticipated in the project Departure to Freedom which she used to address
the situation of young people in East Germany. In 1994 she received a
scholarship at the Ahrenshoop Artists' Residence, where she created t
series Cross-border Commuters - Ahrenshoop Portraits, which dealt with
the employment situation after the opening of the border between Eas
and West Germany. Her most recent series again deals with the young
generation, which is adapting to the situation quite differently irom
own generation. This is a photographic approach to young people
lowing the theme Departure to Freedom - A Document of Change.

Mar jna Makowski gave up being a book dealer and devoted her-
>7 h a rts. From the very beginning she concentrated on photo-
d one year later, she began to participate in exhibitions. To
g rap y she a( jheres firmly to the formal creative principles on which

• based. Her literary roots manifest themselves in her large-for-
lCr 3 black-and-white triptychs in the form of text passages of different
Tpths which mostly read like excerpts from fantasy or science fiction
I Yet these are not descriptions that she found somewhere; they
her own, individually tailored to the specific situation shown in a pic-

Her severely rastered photographs are mostly taken from video
d television movies, and they show the characteristic structures of
these media. Her texts and images describe intimidating situations,
scenes of threats, and of being exposed. They are about anonymous
power, technology devoid of a soul, or a government that monitors
everything, where people are pigeonholed, either as blind executive
power or as victims. RM

ZUM ERSTEN MAL CESTATTETE MAN IHR
DIE TEILNAHME AN DEN VERSUCHEN. IHR
PLATZ LAC ETWAS ERHOHT, UND SIE
KONNTE AUF DAS GESCHEHEN HINUN-
TERBLICKEN, OHNE DIE ANDEREN DURCH
IHR DABEISEIN ZU STOREN. IN DER VOR-
HERGEGANGENEN LANGEN ZEIT DES WAR-
TENS AUF DIESEN MOMENT HATTEN DIE
DINGE (DIE SIE NUN ERLEBTE) IN IHRER
VORSTELLUNG EINE MYSTISCHE. IRREALE
DIMENSION ANGENOMMEN; STUNDEN-
LANG HATTE SIE SICH DIESEN ANGENEH-
MEN UND SIE SCHAUDERND MACHENDEN
VISIONEN HINGEGEBEN UND FUHLTE SICH
WAHRENDDESSEN WEIT FORT VON IHREM
TATSACHLICHEN AUFENTHALTSORT UND
DEN DAMIT VERBUNDENEN WIRKLICHKEI-
TEN. GLEICHZEITIG EMPFAND SIE IHREN
KORPER ALS DEN DEUTLICHEN BEWEIS El-
NER ANWESENHEIT, DIE FUR SIE )EGLICHE
BEDEUTUNG VERLOREN HATTE. TATSACH-
LICH LIESS MAN SIE BEI DIESEM ERSTEN
MAL NOCH NICHT WIRKLICH EINBLICK
NEHMEN; VOLLIG AM RANDE STEHEND
WAR SIE WEDER DEN TABUS NOCH DEN Rl-
TUELLEN VORSCHRIFTEN UNTERWORFEN,
DIE DEN HINTERGRUND BILDETEN ZWI-
SCHEN DER HANDLUNG UND DEM WISSEN
DARUM.

Makowski,
Marina

Born 1956
Lives in Berlin

< Marina Makowski
75/86 l-lll. 1986

Gelatin silver print
each 79 x 709 cm
ML/F 1990/62 l-lll

Toyota Donation

410 I Mahn

Makowski | 411

► Werner Mantz
Housing Complex,
Cologne-Kalkerfeld.
Front Elevation of an
Apartment Building,
around 1930

Gelatin silver print
16.8 x 22.9 cm
ML/F 1981/1187

Mantz, Werner

1901 Cologne
1983 Eijsden,
Netherlands

*■ Werner Mantz
Housing Comp| ex ir|
Cologne-Kalkerfeld,
Balconies, ar 0un d '
1930

Celatin silver print
23.7 xrj. 9 cm
ML/F 1981/193

►►Werner Mantz
Housing Complex,
Cologne-Kalkerfeld,
Entrance, around
1930

Celatin silver print
22.4 x 13.2 cm
ML/F 1981/1195

► Werner Mantz
Rudolf Mosse-

Pavilion, View of the
Otto Banning Steel
Church, 1928

Celatin silver print
2j.Zx22.2cm
ML/F 1979/1613

► ► Werner Mantz
Ursuline Lyceum,
Georgplatz, Cologne,
Staircase, 1930

Gelatin silver print
1g.1x17.scm
ML/F 1979/1398

When he was only 14 years old Werner Mantz began to take pictures
with an Ernemann camera, and he achieved his first financial success
with the sale of his own picture-postcards of the flood disaster of 1920
in Cologne. Following his studies at the Bavarian Education and Re-
search Institute for Photography in Munich, he opened his first studio
Cologne in 1921, where he made portraits and advertising photographs
In 1926 he met Wilhelm Riphahn in conjunction with a project for the
Pickenhahn barber salon and within a short period of time became r
"house photographer". This led him to the Gemeinnutzige Aktienge-
sellschaftfurWohnungsbau (a residential construction corporation).
He subsequently took pictures for all its member architects. In 19°
Mantz withdrew to Eijsden in the Netherlands, where he embarke
his second career as a photographer of children. RM

412 I Mantz

Mantz J 413

Mapplethorpe,
Robert

1946 New York
1989 New York

A R. Mapplethorpe
Self-portrait as a
Woman, 1980

Gelatin silver print
352 x35 cm
ML/F 1984/76

Cruber Donation
414 J Mapplethorpe

At first Robert Mapplethorpe wanted to become a musician, but he
eventually decided to study painting at the Pratt Institute in Brooklyn.
In 1968 he met the singer Patti Smith with whom he moved to the now
legendary Chelsea Hotel in Manhattan in 1970. Under the influence of
his friend John McEndry, curator for printed art and photography at the
Metropolitan Museum of Art, New York, Mapplethorpe began to take
an interest in photography, collecting old photographs. Initially he on]
made montages from photographs that he found, but in 1972 he bega
to take pictures with a Polaroid camera.

Mapplethorpe's preferred subjects were classical themes such as

still-life scenes, flowers, portraits, and nudes, all of which he recorded in

ri gorous compositions with an extremely precise photographic style. He

caused a sensation in particular with his nudes, which defined eroticism

1C * homosexuality with a virtually relentless arrogance. The openness

tn which Mapplethorpe approached in particular the male gender, and

-h disclosed his own homoerotic tendencies even resulted in the

"•nscation of his photographs at one of his exhibitions. MBT

A Robert
Mapplethorpe
Untitled (male
nude), 1981

Celotin silver print

38.7 x 38.5 cm

ML/F Dep. 1989/209

Jeane von

Oppenheim

Donation

Mapplethorpe | 415

A Robert
Mapplethorpe
Untitled (male
nude). 1980

Gelatin silver print

35-4* 35-4 cm

ML/F Dep. 1989/208

Jeane von

Oppenheim

Donation

rC haHotte March
UK* .in

memory of And-e

i9 8s

abochrome print

- ,7 cm
ML/F i99'/273

From 1950 to 1954 Charlotte March attended the Alsterdamm School of
Art in Hamburg. Since 1956 she has been an assistant professor at the
Master School of Fashion in Hamburg. In 1955 she spontaneously de-
cided to take up photography, and since 1961 has had her own studio in
Hamburg. She works mostly in fashion and advertising photography in
Germany, France, and England. A series entitled Girls and Fashion from
^ sixties shows Charlotte March's style. The models frequently look
lrect 'y at the viewer. They embody personality, self-confidence, and a
-ertain aloofness. In 1973 Charlotte March said: "I am uninhibited

;r > I take pictures of nude girls. I find that as normal as photograph-
^ a coffee pot. I would be rather more inhibited photographing an un-
lSe d man, because of the eroticism between man and woman." Four
rs later her book Man oh Man! A Proposal for the Emancipation of the

March,
Charlotte

1930 Essen

Lives in Hamburg

416 J Mapplethorpe

March | 417

A Charlotte March
Trevor in Bathing
Trunks for "twen"
magazine, 1967

Cibachrome print
61 x 50.8 cm
ML/F 1991/280

tractive Man was published. In this book we read: "A beautiful man is

suspect. In particular, of course, among men." She took photo-
>^Phs of men in all kinds of poses: in the style of classic pin-ups, child-
playing with rabbits, like fauns cavorting through nature, stripping,
rnin S' in bed. The descriptions deal with the subject in the liber-
3 eech °f tr >e seventies as cultivated by magazines like Pardon and
u ae men - photographed by a woman - caused this book to be-

A Charlotte March
Donyale Luna with
Earrings for "twen"
magazine, 1966

Gelatin silver print
40 x 39.9 cm
ML/F 1991/276

Cruber Collection

come

quite a sensation. AS

418 I March

March | 419

Mark,
Mary Ellen

1940 Philadelphia
Lives in New York

« Mary Ellen Mark
Untitled, 1972

Gelatin silver pnm
256x77.4 cm
ML/F 1994/2,3

Gruber Donation

After studying art and completing her university studies in photojournal-
ism, Mary Ellen Mark has been working as a freelance photographer
since 1966. Her genre is social documentary photojournalism, and her
intention is to photograph fringe groups of society in an explanatory
and direct style. Her reports are never sensation-mongering, and they al-
ways seek to be compassionate and not to denigrate the dignity of those
portrayed. This is true of the prostitute in India in her project Falkland
Road (1981) and of a photographic series of the eighties with children
living in the Bronx, the homeless, junkies, and the handicapped. Her
technically perfect and creative photos are rooted in the tradition of
W. Eugene Smith and Dorothea Lange. In 1994 she was awarded the
Erich Salomon Prize by the German Society for Photography (DGPn)-
AS

„ Mary Ellen Mark
me Dam Farrnly.
Los Angel". 1937

ML/F 1994/2' 2
GfU ber Donation

▼ Mary Ellen Mark
Women for
Women's Sake, 1972

Gelatin silver print
20.9 x 29-9 cr "
ML/F 1994/2M

Gruber Donation

420 I Mark

Mark | 421

Matta Clark,
Cordon

1948 New York
1978 New York

► Cordon Matta
Clark

Office Baroque,
Antwerp, 1977

Cibachrome print
102 x 77 cm
ML/F 1983/1

Gordon Matta Clark studied architecture at Cornell University in New
York and literature in Paris in 1963. Being an architect, he was interested
not only in new buildings but also in the problems of social tensions in
cities, the destruction and demolition of buildings. In his work he com-
bines drawing, sculpture, architecture, photography, motion pictures
and performance art. In the early seventies he made movies of demoli-
tion events and from 1973 photographed sections of houses. Empty
buildings, just before being torn down, were his subjects. His interven-
tion snatched them from oblivion and made them a reference to history
and to the destruction of their continuity. The Office Baroque project was
created in 1977 in an abandoned office building in Antwerp in memory
of the 400th birthday of Peter Paul Rubens. Because officials would not
give him permission to carry out his original changes to the facade of
the building, he prepared new plans for its internal rooms. In Septem-
ber he explained: "My first five-story building offered unique opportun-
ities and I wanted to elicit an almost musical phrase, i.e. a fixed set of
elements should permeate all the stories. On account of an unexpected
event - rings left by a teacup on a drawing - I ended up grouping the
piece around two semi-circular areas with slightly different diameters.
They began on the first floor and created the guiding motif, limited by
floors and the roof. Wherever these circles intersected, a peculiar row-
boat-like hole was formed, which changed from one story to the next,
defined by beams and existing space. In this project, now called 'Office
Baroque', the arrangement of large spaces (large, open offices at the
bottom; small interconnected rooms at the top) defines how the formal
elements of uninterrupted round disks change into shrapnel-like splin-
ters and pieces, in particular in the areas where they abut to borders
and walls. In addition to the element of surprise and the loss of orienta-
tion caused by this work, it provides a particularly satisfying intellectual
model." At the same time, the photographic work is reflected formally
by the "splittings" of the house - the film material was cut into pieces
and reassembled: "The camera is not meant to capture the moment bu
act as a stage for a plot which has not yet been completed." AS ■

422 I Matta Clark

Matta Clark | 423

Maywald, Willi

1907 Kleve
1985 Paris

▼ Willi Maywald
Jacques Heim,
Fashion Photo-
graphy, 1950s

Celatin silver print
27.2 x 23.9 cm
ML/F 1993/336

Cruber Donation

From 1925 to 1928 Willi Maywald attended fine arts schools in Colog
and Krefeld. From 1928 to 1931 he studied at the College of Creative A
in Berlin, earning his living during this time as an assistant in motion
picture studios. In 1931 he moved to Paris, where he worked with Ha
Meerson, a photographer, until 1934. He then opened his own studio f
portraits, journalism, architecture, and fashion. He began collaboratin
with a number of magazines, including Femina, Harper's Bazaar, Vogue
Realties, Picture Post, Life, Elegante Welt, and Photo Prisma. Between the
years 1935 and 1942 he spent his summers in Cagnes-sur-Mer where he
shot the sequences Renoir's Garden and Monet's Garden which were first
published in Verve magazine. Between 1939 and 1940 he was interned in
several camps in France. In 1942 he began his portrait series of famous
people from the worlds of theater, the fine arts, and literature. Among
others, he shot portraits of Marc Chagall, Le Corbusier, Pablo Picasso,
Joan Miro, and Jean Cocteau. Between 1942 and 1946 he lived in Swit-
zerland, where he contributed to a number of magazines. Finally, in
1946 he opened a new studio in Paris and became a photographer with

Christian Dior. He is equally as
famous for his fashion photo-
graphy as for his portraits - with
his artists' portraits being ex-
ceptional. In 1949 he compiled
them into a book entitled Artists
at Home, published at the time
when an exhibition with the same
title was opened, which met with
immense public response. Shortly
before his death in 1985 Maywald
published his memoirs. RM

424 I Maywald

A Willi Maywald
Dress by Jacques
Fath, 1950s

Gelatin silver print
30.3 x 24 cm
ML/F 1993/343

Gruber Donation

Maywald | 425

McBean, Angus

1904 Newbridge,
South Wales
1990 Suffolk

▼ Angus McBean

Audrey Hepburn,
1951

Celaiin silver print
27. 9 x 22.3 cm
Ml/F 1977/487

Cruber Collection

Angus McBean discovered his passion for photography when he wa
quite young. However, before embarking on becoming a professional
photographer, he worked in an antiques business in London's We<=t
End, where he learned how to restore old furniture. At the beginning
of the thirties McBean went to the theater and became successful as
a make-up artist and set designer. In 1934 he worked as an assistant in
the studio of Hugh Cecil, opening his own studio in London the fol-
lowing year. Soon he earned a reputation as being an excellent theater
photographer and portrait photographer of famous actors. At this time
McBean's work was marked by wit and great inventive imagination, and
his elaborate productions reflected the photographer's interaction with
the art of Surrealism.

When the theaters in London were forced to close during World War
II, McBean moved to Bath. In 1945 he opened a new studio in London
and became number one among British theater photographers. Even
after the war he maintained his humorous, surreal style as evidenced by
Self-portrait from the year 1947: The grinning head of the photographer

appears like a ghost on the stairs.
One of his most famous photo-
graphs of the post-war era was
the portrait of the as yet unknown
Audrey Hepburn. She emerges
like an antique bust from a desert
divided by classical columns. As
an advertising poster for a cos-
metic product, this portrait was
seen in display windows through-
out the country and it ultimately
provided the young model with
access to the motion picture stu-
dios of Hollywood, thereby mark-
ing the beginning of a meteoric

career.

In the fifties and sixties, in ad-
dition to his theater photographs.
McBean also took numerous pho-
tographs for album covers of p°P
records. His most popular shot

426 I McBean

A Angus McBean
Margot Fonteyn,
1951

Celotin silver print
37-6x29-8""
ML/F 1977/485

Cruber Collection

McBean | 427

■* Angus McBean
Penelope Dudley.
Ward, 1938

Celatin silver pri n
28.8x23.9 cm
ML /F 1977/486
Cruber Collection

in this area was undoubtedly his picture of the laughing Beatles as
they leaned over the railing of a balcony. This picture traveled around
the world on the cover of the LP "Please, Please Me".

In the early seventies McBean sold his house in London and his
studio in Islington. A large number of his photographs went to Harv«
University. At the age of 70 he finally retired from the business of p c
graphy altogether. MBT

A Angus McBean
Self-portrait, 1947

Celatin silver print
28.8x23.4 cm
ML/F 1977/484

Gruber Collection

428 I McBean

McBean | 429

McBride, Will

1931 Saint Louis.
Missouri
Lives in Frankfurt
on Main

Will McBride started out by studying art and art history in New York At
the same time he trained as an army officer, ending up stationed in
Wiirzburg. Even though he had dealt with photography during his stud
ies, McBride learned to value photography as an independent medium
of expression in Germany. His first topic was the life of soldiers in the
Wurzburg barracks.

In 1956 he took up residence in Berlin as an independent photo-
grapher. From there he produced photographic reports for the maga-
zines Life, Stern, Quick, and especially Xwen. In the sixties he developed
more and more into one of the most significant photographic chronic-
lers of the political and social scene - especially of student protests - in
the Federal Republic of Germany of that era. In this context he not
only dealt with public events. Many of his works provide insight into the
intimate spheres of human existence.

For him, photography always meant the challenge of people and
things, and the capture of continuous change. Not least for this reason,
it was characteristic of his working style that he conveyed history with a
photo essay in the form of a sequence or series of images.

In 1972 McBride moved to Tuscany where he continued working as
a photojoumalist. In 1980 he returned to Germany where he resumed
painting and sculpting. MBT

4 Will McBride

Konrad Adenauer.

1965

Gelatin silver pn" 1

26x394 cm
ML/F 1977/905

Cruber Donatio"

A Will McBride
Overpopulation,
around 1969

Gelatin silver print
26.7 x 40.5 cm
ML/F 1995/122

Lhve Scheid
Donation

■4 Will McBride
Barbara in our Bed,
1959

Gelatin silver print
24 x 37.2 cm
ML/F 1977/489
Cruber Collection

430 I McBride

McBride | 431

•* Duane Michals
Nude, 1972

Gelatin silver pr i m
i2.i x 77.8 cm
ML / F 1 977/5ij
Cruber Collection

► Duane Michals
Paradise Regained,
1968

Gelatin silver prints
6 photographs,
each 16.6 x24 cm
ML / F '977/510

Gruber Collection

Michals, Duane

1932 McKeesport,
Pennsylvania
Lives in New York

Duane Michals is not one of those photographers who use photography
to create an image of reality. Instead, he has tried repeatedly to cross
the borders of reality, to blend reality and dream. He himself once said:
"I believe in the invisible. I do not believe in the visible .... For me, reality
resides in intuition and imagination, and in the small voice in my head
which says: 'Isn't that extraordinary?!'"

Between 1951 and 1953 Michals studied at the University of Denver
and in 1956 attended the Parson School of Design in New York. He took
his first photographs in 1958 on a trip through the Soviet Union. Toward
the end of the fifties he settled in New York as a freelance photographer,
worked for fashion and entertainment magazines such as Vogue, Es-
quire, Mademoiselle, Show, or New York Times, and specialized in portrait
photography. Even at that time his sense for cryptic, at times dream-like,
productions showing his interest in Surrealism manifested itself. In
1963 Michals visited Rene Magritte, whose paintings he had longfou"
exciting. The series of portraits of this artist is considered a peak of
Michals' art because he succeeded in portraying not only Magritte
person but also his world of artistic ideas.

Especially Michals' self-staged photo sequences became famous,
which sought to overcome the restrictions of the single picture,
not satisfied with the individual picture because I could not ben <
provide additional disclosure. In a sequence the sum of picture;

■Iff, 3k ~ v iL/

j 1 ,

s what cannot be said by a single picture." Michals used three to
snots to compose picture stories which, however, were not usu-
m plete narrations but mysterious events meant to raise questions
entice the viewer into further contemplation. By using photo se-
" s Michals translated picture stories, frequently accompanied by
P '°ns, of everyday events so ubiquitous in the photojournalism
fties and sixties into an artistic statement.

432 j Michals

Michals | 433

*

- k

-* D"ane Micha| s
Andy Warhol, , 9?3

Gelatin silver priJ

3 Photographs,
eoch8. 7x ,2. 3cm
ML/F 1988/47

Gruber Donation

In 1966 Michals began to provide his photographs with hand-writ-
ten titles which he then expanded into more and more detailed explana-
tions. In some cases they even became independent literary texts. With
these verbal elaborations Michals wanted to increase the recognition
value of his otherwise strictly visual story-telling skill. At the same time
ne provided the "mechanical" imaging tool of photography with a per-
sonal, graphic touch. Later on he enhanced this effect in his photo-
paintings, in which he combined photography with graphics and paint-
,n g by overpainting his pictures. MBT

A Duane Michals
Ludmilla Tshernina,
1964

Gelatin silver print
72.3 x 18 cm
ML/F 1993/359

Gruber Donation

434 I Michals

Michals | 435

•< Antoni
Mikolajczyk
Light-Drawing, lg8o

Gelatin silver print
60 x 67 cm

ML/F 1982/1380

Mikolajczyk,
Antoni

1939 Siemianowice,

Poland

Lives in Lodz

Between 1962 and 1967 Antoni Mikolajczyk attended the Visual Arts De-
partment of the University of Torun. From 1964 to 1969 he was a mem-
ber of the group "Zero 6i". Between 1967 and 1969 he was assistant for
visual projects at the Visual Arts Department of the University of Torun.
Thereafter, from 1971 to 1977, he was a professor at the Academy of Arts
at Lodz and since then he has been teaching at the Academy of Arts at
Posen. Mikolajczyk deals with space and light in his sculptural as well
as his photographic work. His camera captures the motion of light in
space, yet in other series, like Light-Drawings, it itself moves in order to
allow static light to draw lines. In a third variant, the motion of the cam-
era strikes that of space. This results in images of great expressivenes
which includes the use of color. Already in the seventies Mikolajczyk
was in contact with Western institutions that staged exhibit-ions, wnici
is why his work is linked more closely with those artistic traditions
the work of many of his colleagues. RM

r Willi Moegle
Ulm. View of the
eyhedral Square.

Cfot/r.siftwP"'*

49 .8*SS- 6cm

ML/F'985/'

K

V*

' >

'**&■** A

v 4

v — " - : t

>4te JW * h

* V ^ (% V«ft .If

Willi Moegle completed an apprenticeship in chemigraphy. in 1922 he
worked for the State Office for Historical Preservation in Stuttgart and
began to take photographs there. In 1927 Moegle set up his own studio
and took pictures for architects, interior architects, and graphic design-
ers. In 1944 his studio was destroyed during an air raid and he worked
with his step-brother, Arthur Ohler, for five years. In 1950 he was able to
°pen a new studio of his own, where he mainly took pictures for porcel-
Mi and glass manufacturers and also for furniture companies. In the

:| es his reserved factual style impacted the appearance of the advert-
ing of numerous companies in Germany. In 1959 Moegle set up his
dio in Obereichen. He entrusted his long-time associate Hansi
'er-Schorp with its management. His activities on behalf of the
rman Society of Photographers (CDL) have had a lasting influence
h| s organization of photographers working in the artistic field. RM

.

Moegle, Willi

1897 Stuttgart
1989 Leinfelden

til p. 438:
Willi Moegle
Silk-Spinning Plant
in Biberach/Riss,
1948-1949

Gelatin silver print
42.5 x 32.8 cm
ML/F 1991/119

III. p. 439:
Willi Moegle
Prototypes -
Apothecary Bottles,
1954

Gelatin silver print
59.8 x 35.8 cm
ML/F 1991/125

436 I Mikolajczyk

Moegle I 437

438 | Moegle

Moegle | 439

Moholy, Lucia

1894 Karolinenthal.
near Prague
1989 Zollikon, near
Zurich

A Lucia Moholy
Wassily and Nina
Kandinsky in their
Dining Room, 1926

Gelatin silver print
19.4 x 25.1 cm
ML/F 1988/59

Gruber Donation

440 I Moholy

Lucia Schulz studied art history and philosophy and in 1915 began work
as an editor for various newspapers and publishing houses. In 1920 she
met Laszlo Moholy-Nagy, whom she married in 1921. Beginning in 1922
the couple worked together on photographic experiments. After her hus-
band was called to the Bauhaus in Weimar, Lucia Moholy began an ap-
prenticeship as a photographer and produced numerous portraits of
Bauhaus teachers and friends. In 1926 she documented the construc-
tion of the new Bauhaus in Dessau and took numerous product pictures
for Bauhaus workshops. In 1928 she and Moholy-Nagy went to Berlin,
where they continued to work together until their separation in 1929-
1933 Lucia Moholy emigrated to London. There, in 1933, she pubhshe
much-cited cultural history of photography entitled One Hundred Years
of Photography. MBT

.

A Lucia Moholy
Bauhaus Dessau,
Workshop Wing. 1926

Gelatin silver print
34.7 x 28.4 cm

ML/F 1977/523
Gruber Collection

Moholy I 441

Moholy-Nagy,
Laszlo

1895 Bacsborsod,
Southern Hungary
1946 Chicago

< Laszlo
Moholy-Nagy

Ba "hau S Balco nJes
1925

Gelatin siher pr j m

ML /F 1977/ll44

Gruber Donation

Although the Hungarian Laszlo Moholy-Nagy considered himself a
painter and not a photographer, he is now considered as one of the
pioneering innovators in photography in the twenties.

Initially Moholy-Nagy had decided on a career as a lawyer, but this
plan was interrupted by World War I. In 1914 he was drafted for war duty
into the Austro-Hungarian army. During his stay in a military hospital m
1915 he made his first chalk and ink drawings.

After the war he decided to devote himself to the arts entirely and
abandoned his legal studies. In 1920 Moholy-Nagy went to Berlin, wrier
he established contacts with the "Sturm" group, dadaists, and con-
structivists. There he met Lucia Schulz, who was to become his wife a
with whom he worked on photographic experiments during the yea
that followed. He became famous, however, because of his photog
the earliest of which can be dated back to the fall of 1922.

442 I Moholy-Nagy

a Laszlo
Moholy-Nagy
Ascona, 1926

Gelatin silver print
37. 8 x 30.3 cm
ML/F 1977/531
Gruber Collection

Moholy-Nagy | 443

Sisters Dancing
Duo. '9 2 5

,:r print
raj cm
ML/F'977/"37
Crii ber Donation

► Uszlo

Moholy-Nagy

Leda and the Swan,

1925

e^atin silver print

-3cm
ML/F i977/"35
Cruber Donation

In 1923 Walter Cropius invited Moholy-Nagy to go to the Bauhaus

ln Weirr iar. There he directed first the metal workshop and then the

eliminary courses after Johannes Itten had left the Bauhaus. Although
t(-i

r e was no independent photographic course at the Bauhaus at the

1e of Moholy-Nagy (it was instituted only in 1929 after the arrival of

r ^eterhans), he is considered to be one of the pioneers of this

Irn ' becoming the representative of Bauhaus photography per se.

g other things, he owes this reputation to his publication Painting,

444 I Moholy-Nagy

Moholy-Nagy | 445

A Laszlo
Moholy-Nagy
A Chicken is a
Chicken, 1925

Gelatin silver print
11.2x16.4 cm
ML/F l977/"39
Gruber Donation

► Laszld
Moholy-Nagy
Militarism, 1924

Photomontage
17.2 x 12.6 cm
ML/F 1977/1142
Gruber Donation

Photography, Motion Pictures, which he published in 1925 as the eighth
volume of the Bauhaus Books.

This constituted the publication of the first definitive text on the
topic of photography at the Bauhaus. Moholy-Nagy tried to clarify the
relationship between painting and photography, promoting a clear
separation between the two media. While he considered painting as
creating with color, he used photography for the examination and depic-
tion of the phenomenon of light. For him photography was not mainly
an auxiliary tool for intensifying human vision - as was frequently the
case in the twenties - but a new artistic medium. In his aforementioned
book Painting, Photography, Motion Pictures Moholy-Nagy also coined
the term "photo sculpture or relief" for his photomontages. He under-
stood them to be the following: "They are composed of different photo
graphs, a [...] method for testing simultaneous illustration, comprom-
ising penetration of the visual and the humor of the word, mystenou
connection of the most realistic imitative means growing into the if
ginary. Yet, they can tell stories at the same time, be concrete, truer
to life 'than life itself."

446 I Moholy-Nagy

Moholy-Nagy | 447

-« Laszlo
Moholy-Nagy
Joseph and P 0tiph3r
1925

Gelatin silver print
17-7x12.4 cm
ML /F 1977/1143

Cruber Donation

► Laszlo
Moholy-Nagy

Wishful Dreams of
a Girls' Boarding
School, 1925

Gelatin silver print
76.9 x12 cm
ML/F 1977/1140

Cruber Donation

///. p. 450:

Laszlo Moholy-Nagy
How Do I Stay
Young and Beautiful.
1926

Gelatin silver print
15.4 x 11.8 cm
ML/F 1977/1136

Cruber Donation

448 I Moholy-Nagy

Moholy-Nagy | 449

After the Bauhaus had moved to Dessau in 1926, Moholy-Nagy re-
mained there for two more years as a teacher, before moving to Berlin
n 1928. In 1929 he participated in assembling the famous Stuttgart
Werkbund exhibition "Film and Photo" (FIFO), where he himself was
represented with 97 photographs, photoreliefs, and photograms. In
'934 Moholy-Nagy emigrated to Amsterdam and from there to Lon-
n. In 1937 he moved to Chicago, where he became director of the
newly founded Association of Arts and Industries design school,
' n| ch he renamed the New Bauhaus. Only one year later, the New

J naus closed down. In 1939 he and other artists founded their own
School of Design.

Ir > addition to his artistic work, Moholy-Nagy left behind compre-
/e theoretical works dealing with questions of painting and pho-
P y- He always endeavored to make photography a medium with
Same ar tistic value as painting. MBT

A Laszlo
Moholy-Nagy
The Spiral Turn of
the Room. 1925

Gelatin silver print
13.4 x 18.3 cm
ML/F 1988/101

Cruber Donation

III. p. 452:

Laszlo Moholy-Nagy

Photogram, 1924

Gelatin silver print
39.8x29.8 cm
ML/F 1971/53

III. p. 4sy

Laszlo Moholy-Nagy

Photogram, 1924

Gelatin silver print
39.7 x 29.8 cm
ML/F 1971/54

450 I Moholy-Nagy

Moholy-Nagy | 451

Moholy-Nagy | 453

Morath, Inge

1923 Craz

Lives in Roxbury,

Connecticut

▼ Inge Morath

Antonio Ordonez,

'954

Gelotin silver print

25.4x16.8 cm

ML/F 1977/517

Gruber Collection

After studying Romance languages and literature in Berlin and
Bucharest, Inge Morath worked as a journalist for the press and radio
before turning to photography and studying under Simon Guttman in
London, who is considered to be one of the fathers of modern photo-
journalism. She has been a member of the "Magnum" group in Paris
and New York since 1953. Inge Morath has worked with Ernst Haas and
with Henri Cartier-Bresson, whose assistant she was from 1953 to 1954.
In 1956 she had her first solo exhibition and her first book War on Sad-
ness. Photographic journeys took her to Europe, Africa, the Orient, the
USA, the USSR, China, Japan, Thailand, and Cambodia. Her photo-
graphic reports appeared in well-known magazines such as Life, Paris
Match, Holiday, and the Saturday Evening Post. She has been married to

the American author Arthur Miller
since 1962. He wrote the text for
her book In Russia (1969). Inge
Morath's photographs are char-
acterized by great sensitivity. In
1975 she herself characterized her
work: "Before I tackle a project, I
want to know its background, im-
merse myself in its civilization
and at least learn the fundamen-
tals of its language. Then I have
more freedom to reach what
Cartier-Bresson calls the decisive
attitude of the photographer. He
took his pictures with one eye
open, observing the world
through a viewfinder, and the
other eye closed, looking into his
own soul." AS

„ Martin Munkacsi
Torso. 1944

..silver print
A cm

VISA'
GlJ -x>r Collection

The Hungarian Martin Munkacsi taught himself photography. His work
as painter and sports reporter for a Budapest newspaper was helpful in
that endeavor. In 1927 he worked for the Ullstein publishing house in
Berlin as a photojournalist for the magazines Dame, Studio, and Berliner
lllustrirte. Later Munkacsi freelanced for international newspapers. In
'933 he emigrated to the USA, where he worked as a fashion photo-
grapher for Harper's Bazaar and in 1936 he became a full-time staff

-mber of Life magazine. In the forties Munkacsi became one of the
lost highly paid and sought-after photojournalists in the USA.
nkacsi's action shots captured spontaneity and used unconventional
;win g angles. He applied his experience in sports photography to
nion photography. He took pictures from extreme angles, frequently
1 eye views, of professional models as well as ordinary people
ors and in motion. His photographs of masses of people and of
IV| duals appear natural, presenting fashion without artifice in daily

within real contexts. Until his death Munkacsi was also active as
T1eraman and light designer in motion pictures. LH

Munkacsi,
Martin

(Martin Marmorstein)

1896 Koloszvar,
Hungary
1963 New York

454 I Morath

Munkacsi | 455

Muybridge,
Eadweard

(Edward James
Muggeridge)

1830 Kingston-upon-
Thames, England
1904 Kingston-upon-
Thames

A Eadweard
Muybridge
Motion Studies/
Animal Locomotion,
Plate 48. 1887

Photo print
32.7x25.3 cm
ML/F 1977/543
Gruber Collection

Eadweard Muybridge left England in 1850 in order to seek his fortune in
America. There he met the daguerreotypist Silas Selleck, who won him
over to this medium. Between 1856 and 1867 he again lived in England,
but he returned to San Francisco where he formed a partnership with
Selleck in a gallery. He became famous for his landscape views of the
Yosemite Valley taken with a large plate camera. These were followed by
views of the Pacific Coast, an Alaskan expedition, and his specialization
in industrial photography. Muybridge became famous for his motion
studies, which he began in 1872 by attempting to capture a galloping
horse in photographic pictures. In 1877 he expanded his experiment by
placing twelve cameras next to each other in order to be able to record
the running horse in all its phases of movement. His books Animal
Locomotion and The Human Figure in Motion appeared during his life-
time. Fastened next to each other and viewed in a zoetrope, photo-
graphs became moving pictures for the first time. Muybridge himself
used similar equipment to project his images on a screen and is there
fore considered to be a pioneer of cinematography. AS

Cu « bichromate

,92/118

Lu dw.g Collection

In 1884 Moisei Nappelbaum began an apprenticeship at the Boretti Stu-
dio. In 1887 he left Minsk and undertook an extensive journey through
Russia, Poland, and the USA, where he worked in New York, Philadel-
phia, and Pittsburgh. In 1895 he returned to Minsk and opened a studio
for portrait photography. In 1910 he worked in St. Petersburg for the
newspaper The Sun of Russia. In 1919, when the government moved to
Moscow, Nappelbaum set up the first state photographic studio. In the
ft'/enties he participated in many international exhibitions and in the
nifties became one of the most successful portrait photographers of
famous party leaders and personalities from the cultural and artistic
J 'm. In 1935 he became the only Soviet photographer to receive the
e "Artist of Merit of the Republic" for his 50 years of work. In 1958 he
Published his autobiography From Trade to Art. MBT

Nappelbaum,
Moisei

1869 Minsk
1958 Moscow

456 I Muybridge

Nappelbaum | 457

Nauman, Bruce

1941 Fort Wayne,

Indiana

Lives in Pasadena,

California

Bruce Nauman is one of the most significant practitioners of Conce
Art in the USA. Although he frequently used photography and film i
particular in the years from 1967 to 1970, he viewed these media mer I
as forms of documentation for capturing his "Body Art". For Nauma
photography constituted an interesting alternative to traditional med"
because it offered the advantage of being fast, technologically simple
and (still) unencumbered by the prejudices of the art world.

His Studies for Holograms (1970) are based on a 1967 motion pictur
entitled "Thighing". In 1968 he created his first series of holograms pro-
jected on glass and gave it the title Making Faces. In 1967 Nauman cre-
ated a drawing of five unnatural lip positions. On this drawing he wrote
the note: "Both lips folded toward the outside; mouth open, upper lip
pulled down by the right forefinger; both lips stretched tightly over teeth
- mouth open. As above, but with mouth open. Both lips are com-
pressed from the side with the thumb and the forefinger of the right
hand." In the series of hologram studies Nauman pulled his face in a
similar manner, expanded and stretched in exaggerated forms ending in
the absurd. These studies are reminiscent of child's play or abnormal
behavior. "I think I was interested in doing something extreme", Nau-
man said about this work. "Had I only smiled, it would not have been
worth a picture. It would have been sufficient to make a note that I did
it. I also could have made a list of things which one can do. But then
there was the problem with holograms which require an expression
strong enough that one would not think so much of the technical as-
pect."

In a series of motion pictures he explored the problem of hiding be-
hind a mask. About the motion-picture 'Art Make-Up" (1967-1968) Nau-
man said: "'Make-Up' is not necessarily anonymous, but still somehow
distorted; something behind which one can hide. It does not advertise
or reveal anything. The tension in the work frequently tells of that. One
does not get what one does not get."

f

< A Bruce Nauman
Studies for
Holograms, 1970

Screen prints

5 sheets.

each 66.2 x 66.2 cm

ML/F 1970/32 l-V

458 I Nauman

Nauman | 459

"* Angela Neuke
Secretary cene,,,
Gorbachev i s

ex Pected. Andrew
Air Force Base,
Washington, Dr
1987

Color print
50.6x6icm
ML / F '993/363

Cruber Donation

Neusu:

Michael

Neuke, Angela

1943 Berlin
Lives in Cologne

Between 1963 and 1966 Angela Neuke studied photography under Otto
Steinert at the Folkwang School of Creativity in Essen. In 1967 she be-
came independent and worked for various magazines and newspapers.
Since 1980 she has been a professor at the General College of Essen.
Her series National Theater- Media Circus was much acclaimed. Angela
Neuke observed the preparations for the obligatory photographic pic-
tures at official government receptions and similar events. However, be-
cause she did not wait for the backdrops to be finished or take the pre-
scribed position of the photographers, she documented not only the
expected perspective with staged groupings but also the preparations
for the production. In this way she unmasks the arrangement as such,
denouncing as theater what appears so relaxed and normal in news-
paper photographs. In particular Angela Neuke's color photographs
show a distinctly new language of imaging and a specific topic which
exposes and questions what is apparently known. RM

.fcial Landscape.
; $cm

:SS/45

: nation

Floris Michael Neususs studied photography at the Arts and Crafts
School of Wuppertal and at the Bavarian State Educational Institute for
Photography in Munich. In 1960 he completed his photographic train-
ing with Heinz Hajek-Halke at the College of Creative Arts in Berlin.
Already in 1957 he was interested in free, artistic photography. He began
with surreal photomontages and photograms, and, in the seventies, de-
veloped the nudogram - life-size shadow outlines of nudes, and later of
clothed people.

since the early seventies Neususs has been conducting a class
r experimental photography at the Art Academy of Kassel. There
founded the college gallery as well as the collection and edition
F otoforum" Kassel. Both in theory and practice, he dealt with
tr >e relationship of photography and art.

■s exhibitions featuring environmental pollution with pictures like
> Recycling Photo and Photography, Patience, and Boredom between
le years 1982 and 1985 caused quite a furor.

1 the beginning of the eighties he created Artificial Landscapes, ab-
n emical works which looked like reduced excerpts of landscapes
e horizons. Beginning in 1986 he created a new series, his Night
' S ' P not ographs which are arranged outdoors at night. With his

Neususs, Floris
Michael

1937 Lennep.

Germany
Lives in Kassel

460 I Neuke

Neususs J 461

; R0risM ieh*|
Neusiiss

Night l magesl

S°S*37cm
ML / F, 993/36 4

Crub er Oonati 0n

9$

artistic work, teaching and publications, Neusiiss has significantly
stimulated discussion about the imaging tradition of experimental, in
particular camera-less, photography. RM

< Floris Michael
Neusiiss
Nudogram, 1966

Gelatin silver print
on canvas
237 x 704 cm
ML/F i979/"55
Gruber Donation

462 J Neusiiss

_

Neusiiss I 463

"* Beaumont
Newhall
Henri Cartier-
Bresson, i 94 g

Gelatin si/(*rpj
32 -3>3i-&cm
ML / F 1977/82
Gruber Collection

Newhall,
Beaumont

1908 Lynn,
Massachusetts
1993 Santa Fe,
New Mexico

Beaumont Newhall studied art history at Harvard University, in Philadel-
phia, and in Paris. Between 1933 and 1934 he was an associate in the De-
partment of Arts and Crafts of the Metropolitan Museum of Art in New
York. In 1935 he became librarian of this museum. During this time he
was able to prepare his legendary exhibition "Photography 1839 to 1937",
which opened to the public in 1937. In conjunction with this exhibition
he wrote and published the catalog History of Photography. In it he de-
scribed in an exemplary manner not so much the technical development
of the medium, but rather the artistic accomplishments of the photo-
graphers, their aesthetics and their approaches, from the perspective of
an art historian. History of Photography was kept up to date with numer-
ous revisions and new editions until the seventies, and to this day it is
considered to be the standard reference in photographic history.

In 1940 Newhall was placed in charge of the photographic division
of the Museum of Modern Art, working as its curator until 1945- ' n 1 94
he went to the George Eastman House in Rochester, New York, acting
as its director from 1958 to 1971. In 1967 he was one of the founding
members of "The Friends of Photography at Carmel" and he also lec-
tured at various universities. In 1971 Newhall moved to the Univers
of New Mexico to become a professor of art. MTB

Since his childhood and youth, Arnold Newman exhibited a talent for
drawing and painting. After completing school he began the study of art
at the University of Miami, which he had to interrupt because of finan-
cial difficulties. At the age of 20 he took a job in a portrait studio in
Philadelphia. This was to be the beginning of his successful career as a
photographer. Between 1938 and 1942 Newman concentrated on social
documentary work, which he shot in the black districts of West Palm
Beach, Philadelphia, and Baltimore. In the early forties he specialized
more and more in portraits, becoming the star photographer of artists,
terary personalities, musicians, and other famous people. Newman de-
veloped his own particular style in this field called the "environmental

ortrait". This refers to Newman's peculiarity of including in the portrait
objects characteristic of the portrayed person and of taking the photo-
? ra ph in an environment typical of that person, thereby associating the
>ject with his work and with the world of ideas. Newman, who did not
t to feel himself restricted to the concept of the "environmental por-
• considered the symbolic content of his pictures to be of particular
ance. Of his work he said: "I am not so much interested in docu-
0n - but would like to use the means of the steadily expanding
6 ge of my medium to express my impressions of the individual."

Newman,
Arnold

1918 New York
Lives in New York

A Arnold Newman
Igor Strawinsky. 1946

Gelatin silver print
18.3x34.4 cm
ML/f 7 1977/557

Gruber Collection

464 I Newhall

Newman | 465

si, 1942
,,r print
■ cm
^/554

flection

„ Arnold Newman
p* Mondrian. 1942

ver print
, 1 cm
ML/F '977/555
Gruber Collection

466 I Newman

Newman | 467

Helmut Newton
Self-portrait with
Wife and Model
1981

Matin silver prim
22 X 22 cm

ML/F 1987/3
Gruber Donation

► Helmut Newton
fenny Kapitan in the
Pension Florian.
Berlin, 1977

Gelatin silver print
20 x 73.4 cm
ML/F 1988/50

Cruber Donation

<o\^ ur**-tect, •Httj-f

-T-£*^e M «- bh-.

Newton,
Helmut

1920 Berlin
Lives in Monte

Helmut Newton, born in Germany, carrying an Australian passport and
living in Monaco undoubtedly is a cosmopolitan who cultivates this im-
age with relish. The fact that many of his photographs are created in ho-
carlo tel suites is certainly part of this image. Newton trained with Yva, a Ber-
lin photographer who was famous for her fashion, portrait, and nude
photographs. Following his training, he spent several years in Australia
and Singapore, and then lived in Paris for 25 years. He worked for the
French, British, American, and Italian issues of Vogue, but also for Elk
Marie Claire, Jardin des Modes, American Playboy, Nova, and Queen. In
addition, he took regular assignments for Stern and Life magazines.

Today, there are not many photographers who manage to polarize
the art world quite like Newton. It is divided into his community of fan
who admire his pictures, and his bitter enemies, who want to quali

him as fashion gadfly or woman-hater. In fact, in fashion, beauty, a
nude photography Newton has created a new style which is success

nd

fij

468 I Newton

Newton | 469

A Helmut Newton
They Are Coming,
1981

Gelatin silver print
22.6 x 22.8 cm
ML/F 1984/132

Gruber Donation

470 I Newton

because it betrays a deep sense for the signs of the time. His linking of
offensive self-portrayal and voluntary subjugation with a preference for
tall, large-boned, and self-assured women strikes the nerve of the di-
lemma in which women and the women's movement are still mired -
to have their share of participation in society and still not want to relin-
quish the traditional identity of a woman, or to experience the fact tha
the process of redefinition is difficult and painful. Masculine women,
the trend to the androgynous, is his response to the not yet found io e
tity of the new role. Newton's photography demonstrates the most

-rse facets of types of women who have developed in this situation. He A Helmut Newton

Hope nn* J ii • • • • 1 1 ii- They Are Coming.

Cb not 00 this in a critical but in a sensuous manner, thus drawing gl

!e wrath of the women's movement, which has resulted in many a law- Gelatin silver print

SUit RM 22.4x22.8 cm

ML/F 1984/133

1

Gruber Donation

Newton | 471

► Helmut Newton
Untitled, Paris, 1973

Gelatin silver print
30.3 x 40.5 cm
ML/F 1993/370

Cruber Donation

▼ Helmut Newton
Roselyne.
August 1975

472 I Newton

► Helmut Newton

Violetta des Bains.

'979

Gelatin siherp^

40.3 x 30-3 cm

ML/F1993/3 68

Cruber Donation

Newton | 473

Nothhelfer,
Cabriele

1945 Berlin
Lives in Berlin

Nothhelfer,
Helmut

1945 Bonn
Lives in Berlin

a Cabriele and
Helmut Nothhelfer
Father and Son at
the Industrial Fair,
'974

Gelatin silver print
21 x 29. j cm
ML/F1985/25

474 | Nothhelfer

Between 1967 and 1969 Gabriele and Helmut Nothhelfer studied at
the Lette School in Berlin and between 1969 and 1970 at the Folkwang
School of Creativity in Essen. They have been living in Berlin since then,
and in addition to doing freelance assignments they work at the Tech-
nical University of Berlin and at the Free University of Berlin. Gabriele
and Helmut Nothhelfer have been working on a portrait of the Germans
since the early seventies. They photograph them in public, at events,
festivities, and demonstrations. Conspicuous in their pictures is the
loneliness of those portrayed, even in crowds of people and at happy oc-
casions, at a rock festival, or even while dancing. The stereotypical an-
swer of the satiated post-war German to the question of how things are
going becomes evident: "they must". Loneliness as the result of inner
emptiness and lack of perspective in times of outward wealth create the
tenor of the contemplative mood of the Nothhelfers' photography. RM

a Cabriele and
Helmut Nothhelfer
Dancing Couple
at Whitsuntide
Concert, Berlin, 1974

bur print

21 * 29.5 cm
ML/F 1985/24

> Cabriele and
Helmut Nothhelfer
Ro "ian Catholic
Ma ". Feast of
rhristi.
^"■'n. 1974

Gl ' a ""^er print
ML ' F 1985/23

Nothhelfer | 475

Pabel, Hilmar

1910 Rawitsch,

Silesia

Lives in Rimsting,

Germany

"* Hilmar P abfi |
Heinrich Boll j„

4'-"f 597cm
ML / F '977/564

Gruber Collection

► Hilmar Pabel
Returning Home,
'947

Gelatin silver prim

'°P 'e/t: -2.3.9x7 on
top right: 2 9 . 1X20 _ 6a

bottom left: 29 x 20.5 c
bottom right;
294 x 20.4 cm
ML/F 1994/14-7

Hilmar Pabel grew up in Berlin and studied Germanic languages, liter-
ature and Journalism under Prof. Dovifat between 1930 and 1932. Until
1933 ne worked as photojournalist for, among other publications, Neue
lllustrierte magazine. He was drafted as a photographer during World
War II and worked primarily for Signal magazine. Pabel became famous
worldwide on account of his missing child tracing efforts in cooperation
with the Bavarian Red Cross and Rowohlt publishing company: "Miss-
ing Children Look for their Parents." After the war he began working as
a photojournalist for Quick magazine, traveling around the globe and
visiting countries such as Japan, Syria, Indochina, India, Pakistan,
Mexico, the USSR, the People's Republic of China, Saudi Arabia, and
Egypt. In the sixties he worked exclusively for Stem magazine, then as a
freelance photographer. His reports on Mother Theresa, the Vietnam
War, and the Prague Spring traveled around the world. Individual fates
on the fringes of world politics were always most important to him o
cause they reflect the consequences of politics most dramatically. ' n
1985, 50 years after Sven Hedin, he led a small team along the Silk R<
Immediately afterwards this indefatigable photographer set himself
new goal: "Around the world at the age of 80". RM

476 I Pabel

Pabel I 477

Parkinson,
Norman

(Ronald William
Parkinson Smith)

1913 London
1990 London

▼ Norman
Parkinson

Fashion photograph,
around 1965

Gelatin silver print
36.6x26.9 cm
ML/F 1977/562

Cruber Collection

Between 1931 and 1933 Norman Parkinson trained with court photo-
grapher Splaight Sons. One year later he opened a studio together with
Norman Kibblewhite. Parkinson worked for Harper's Bazaar ma gazin
and The Bystander, a society newspaper. At the end of the thirties this
fashion and portrait photographer distinguished himself with new
standards of capturing a "natural aura" in his models, and he strove to
suggest action and activity in his photographs. Still, Parkinson did not
view himself as an artist but as an implementer who knew how to use
his camera. Starting in 1945, he spent five years making photographs for
Vogue. His wife, actress Wenda Rogerson, presented haute couture in
Parkinson's new, unpretentious style. Following the European lead, he
strove to get away from static photographs. Thus he placed his models
in front of unusual props and presented them in special imaging per-
spectives. For example: hat fashions in front of skyscrapers. Parkinson
took a similar approach in his portrait series of famous people in 1951.

One example is the shot of Alger-
non Blackwood, an author, whose
close-up picture was taken on his
balcony. The shot of Wenda
Rogerson in an exquisite cash-
mere suit next to a cowboy has a
similar surreal effect; attention is
drawn by high-contrast confronta-
tion. Parkinson also took portraits
of well-known actors and singers
such as Audrey Hepburn, the
Beatles, and every member of the
British royal family. After 1963 he
worked as an independent photo-
grapher for international news-
papers. He lives on Tobago
island. LH

„ cordon P»*s
derbi.,

.960
, -7/576

Grub*

Collects

Cordon Parks is the son of a day laborer and he is the youngest of 15
children. He grew up in his sister's house in Minneapolis until his
brother-in-law threw him out at the age of 16. He made a living as a bus-
boy and musician until, seeing pictures of the Farm Security Administra-
tion and a weekly newsreel with photographer Norman Alley, he bought
a used Voigtlander Brillant camera and began to take pictures. He start-
ed out with fashion photography and, beginning in 1942, also worked
f °f the Farm Security Administration. Between 1949 and 1970 he worked
a s a photojournalist for Life magazine. He portrayed the lives of people
n the Southern United States and in Brazilian slums, as well as those of
ashionably dressed rich people in New York and Washington. He por-
tra yed artists and produced a touching report about black leader Mal-

m X. His pictorial reports from the slums of Harlem, to which he had
access being black himself, opened the eyes of white Americans to their
'" div 'ded country. He became most popular because of his motion

Parks, Cordon

1912 Fort Scott.

Kansas

Lives in New York

478 I Parkinson

Parks I 479

■« Gordon P ar[ls
Red Jacksonin

Harlem Gang St0ry ,
1948

24-2 x 19., c,
M WF -977/575
Cruber Collection

pictures, in particular "The Learning Tree" of 1969, and because of his
mystery stories, which for the first time had a black as hero. Through ni!
exemplary career, Parks, who could not be hired by Alexey Brodovitch
because of the color of his skin, has contributed greatly to the recogni-
tion of blacks in American life. RM

•

w-~ * • - -^

So I Parks

A Cordon Parks
Portrait of the
Harlem Story. 1948

Gelatin silver print
32.2x26.5 cm
ML/F 1977/566

G ruber Collection

Parks I 481

Penn, Irving

1917 Plainfield,
New jersey
Lives in New York

▼ Irving Penn
Jean Cocteau,
Paris, 1948

Celatin silver print
27.7x25.5 cm
ML/F 1977/599
Gruber Collection

After studying design under Alexey Brodovitch, Irving Penn worked
graphic artist at the Philadelphia Museum School of Industrial Art *
1938 he moved to New York and began freelancing. In 1943 he prod
his first cover picture for Vogue, a still life. Since then his photograph
have appeared regularly in Vogue and other magazines. Since 195! h e
has been taking pictures for individual clients all over the world. Like
Richard Avedon, Penn is mainly known for his work as a fashion phot
grapher. Unlike his counterparts, Penn is not interested in photograph
outside the studio, let alone shots in streets and cafes. All his life he h
remained faithful to photography in the studio, under very specific light
ing conditions, allowing cognoscenti of his work to distinguish between
his pictures taken in Paris and those taken in New York. Despite these
fundamental differences in approach, Penn also sees the interest in the
human being as central to his work. In his fashion photographs, the
personality of the model is always given considerable play, so that his
pictures at times appear close to being portraits. His series, such as his
1949 assignment for Vogue to photograph fashion that is characteristic
of the first half of the 20th century in five shots, appear to have been
customized for the model - the scene depicting the fifties with the re-
laxed pose and dress almost al-
lowing us to forget that this is a
fashion shot, were it not for the
repeated subtle background color.
The significance of this back-
ground only becomes clear when
one remembers that even his por-
traits, his series on British and
French small business people
and skilled workers, his shots of
people in Morocco, Benin, or New
Guinea feature that background.
The background is Perm's stage,
on which he allows his models.to
act. Be it fashion or portraits, he
detaches people from their own
social context, isolating them to
draw greater attention to their
idiosyncrasies. Indeed, by con-

sistently using the same background, he both highlights the individual,
llr "g him or her out of anonymity, and draws to the clothing. For
nn, every piece of clothing, as soon as it is presented on a specific
5 a ge, becomes fashion. From the viewpoint of cultural history, this idea
n Certa inly be justified, even if the style of clothing of earlier centuries
an ged at a somewhat slower pace. In his series of pictures taken of

enters, lesser employees, and workers in England and France, Penn
m °ved their different uniforms and work-clothes from their practical
s e and presented them as a fashion phenomenon. Likewise, these

A Irving Penn
Pablo Picasso, 1957

Gelatin silver print
}/).i x 34.1 cm
ML/F '977/59 1
Gruber Collection

%2 I Penn

Penn | 483

■* lrvi "g Penn
Ma '!ene Dietrich
'950

Ce,D '"i silver

print

484 I Penn

Ml/F

C'ube

'977/581

Collects

A Irving Penn
Max Ernst and
Dorothea Tanning,
New York, 1947

Gelatin silver print
24,2x19.1 on
ML/F 1988/27

Cruber Donation

Penn | 485

intentions were expressed in his portraits of native inhabitants of New
Guinea, whose tribal dress was defined in terms of fashion. Even the
s «rs on the skin of the girls from Benin are suggested to the viewer in
h| s sense. At the same time, these pictures enhanced the idea of the
'ortrait, with people being perceived as individuals.

p enn published a number of highly acclaimed books. In particular
I Moments Preserved and Worlds in a Small Room caused a sensation
the European world of photography. This was made particularly obvi-

486 I Penn

A Irving Penn
Cecil Beaton, 1950
Gelatin silver print

33- 9*3 2 -9 crn
ML/F 1977/587
Gruber Collection

•« Irving Penn
The Bonapartist
Armand Fevre. 1950
Gelatin silver print
37.5 x 23 cm
ML/F 1993/374
Gruber Donation

Penn | 487

A Irving Penn

Lisa with Roses, 1950

► Irving Penn
Fashion. 195°

Gelatin silver print
41-5X34-5 cm
ML/F ,993/378

Gelatin silver pri"'

47.9 x 35-8 cm
ML/Fig83/'3°

Cruber Donation

Cruber Donation

488 I Penn

Penn | 489

49° I Penn

A Irving Penn
Lisa Fonssagrives.
1950

Gelatin silver print
3g.4x31.6cm
ML/F 1977/579
Cruber Collection

ie publication of the retrospective, containing topics in a ran-
sequence, which he put together with John Szarkowski in 1984. For
s for other great photographers of our time, his own photo-
mterest and photography performed under contract become
e course of the years. He uses these as an expression of a view
Dr| d, an interest in the medium of photography which offers
3| tumty to approach his fellowman and his environment for dis-

A Irving Penn
The 1910s, 1949

Gelatin silver print
39 "39 cm
ML/F 1977/590

Gruber Collection

tlr ictive

nterpretation. RM

Penn | 491

A Irving Penn
The 1920s, 1949

Gelatin silver print
43.1x39.5 cm

ML/F 1977/608

Gruber Collection

► Irving Pen"
The i93° s ' ^
Gelatin site' P" nt

ML/F1977/57 8
Collection

492 I Penn

Penn | 493

■" ,rv 'ng Penn

■ Dorian
349

*w print

977/58 2
rC °Hection

A Irving Penn
The 1950s, Dorian
Leigh and Evelyn
Tripp, 1949

Gelatin silver print
38.7 x 28.8 cm
ML/F 1977/584
Gruber Collection

494 I Penn

Penn | 495

Petrussow,
Georgii

1903 Rostov;,
Ukraine
1971 Moscow

▼ Georgii Petrussow
Caricature of Rod-
chenko, 1933-1934

Gelotin silver print
29 x 40 cm
ML/F 1992/161

Ludwig Collection

Between 1920 and 1924 Georgii Petrussow worked as a bookkee
bank, devoting his spare time to his hobby of photography. In iq->
moved to Moscow, where he made his hobby his profession by w ij
as a photojournalist for the trade union papers Metallist and Rabn hi
chmik. Between 1926 and 1928 he worked for Pravda. Petrussow sn -
ized in industrial topics. Between 1928 and 1930 he took the post of H
partmental head of information at the Magnitogorsk mine in the U I
mountains, where he produced a documentary about the building of
this plant. During subsequent years Petrussow worked as an associate
for the newspaper USSR under Construction, creating many photo-
graphic essays on the subject of heavy industry. In 1931 he joined the
group "October" and worked closely with photographers of the avant-
garde, to whom he owed significant encouragement. Photographers like
Alexander Rodchenko or Boris Ignatovitch affected his style and encour-
aged him to use bold perspectives and to experiment with photography
- as he did, for example, by using a double exposure for Caricature of
Rodchenko (1933-1934)-

Sold** ' '

sprint

J2/159
U^ig Condon

During World War II he worked with Petrussow as a war reporter

? Soviet Office of Information and the newspaper Izvestiya. In
'' 1 945 he reached Berlin with the first troops and used his camera
Jcument the Soviet occupation of the city. Between 1957 and 1971
^worked in the USA for the newspaper Soviet Life, published by the
vosti" press agency. In 1967 he was honored with a solo exhibi-
tor, i n Berlin. MBT

496 I Petrussow

Petrussow | 497

sprint

b** Collection

..CeorgiiPet'ussow
Mo num8it to

:s and Peasant
■ round
.936-1937

..-rprirt!
491 56 60'

Ludwig Collection

498 J Petrussow

Petrussow | 499

Pietrzok,
Wolfgang

1949 Eilum,

Germany

Lives in Etzling, near

SaarbrCicken

Squashing , 2?/
1992

Color prim
50 x so cm
ML / F '993/398
G '"ber Donation

Between 1970 and 1971 Wolfgang Pietrzok studied art pedagogy at the
Arts and Crafts School of Hanover, and between 1971 and 1975 he
studied fine arts and art history at the Arts Academy of Kassel. Since
then he has been working as an art teacher, organizer of exhibitions,
and photographer in Saarbrucken and Etzling. In his work Pietrzok has
combined artistic activism and his experience at the Arts Academy of
Kassel with the concept of photo- perform a nee art. Here, the square of
the glass plate proves to be his special universe, in which the body is
reduced to a black imprint or where it appears to have been frozen in
battle, where body parts are reassembled puzzle-like to form a new
physical entity. On a large pane of glass covered with blue ink he has
male and female models take poses that are partly derived from move-
ment, but which nonetheless are the result of the exact planning of his
multi-piece work. To be sure, Pietrzok's work has been affected by the
anthropomorphic images of Yves Klein, but in his case the imprint
the body is but one element of his photography. Decisive is the photo-
graphic momentum of tension resulting from focus, the absence
cus, of imprint and transparency. By blurring the color, the image
comes a dialog of expressive color tracks, imprints of body pa'
are often deformed and alienated themselves, and of vague looks a
rounded parts of the body through spots where the glass is blan

a.

In sparent. At times, in particular in his most recent work, the freezing

Phases of motion could be called a memory of color that has accur-

' captured positions and attitudes that have changed in the mean-

"etrzok's "Ecrasements" are marked by a dance-like ease,
e as deformities and outlines of ribs in his earlier black-and-white

work
°nthe

A Wolfgang Pietrzok
Squashing 20/16,
1989

Gelatin silver print
30.8 x 50.2 cm
ML/F 1993/400

r e reminiscent of injuries. In those instances the happy ballet c ruber Donation

square shape inadvertently becomes a dance of death. TM

500 I Pietrzok

Pietrzok | 501

Pitz, Fritz

1923 Bocholt,
Germany
Lives in Bocholt

▼ Fritz Pitz
Karel Appel, 1964

Celaiin silver print
97.8 x78 cm
ML/F 1992/11

Donation of the
City of Bocholt

After completing his apprenticeship in his parents' business F rt
studied photography at the School of Creative Crafts in Weimar'' F T*
ing a master program he participated in numerous international eh^'
tions in the fifties. In 7963 he began his long-term association with^
Galerie de France with portraits of artists represented there. Th
eluded Henry Moore, Hans Hartung, Emil Schumacher, Salvador Da"-
Paul Delvaux, Lynn Chadwick, Ossip Zadkine, George Mathieu, And*'
Masson and Joseph Beuys. In 1970 he was one of the first photo-
graphers to have an opportunity for a show at the Louvre.

Pitz is one of those portrait artists who follow a traditional patter
His portrait studies dispense entirely with backgrounds that would
allow conclusions regarding those depicted.

Portraits of artists especially often include such hints in the form
of a painting or a sculpture. Pitz, however, focuses on the face and fre-
quently even crops the head in order to intensify his approach to physi-
ognomy. He approaches faces like a sculptor, modeling heads and facial
lines out of the dark with the help of light. The most significant aspect

of Pitz' skill is his ability to stand
back and to size up the person
before him, to challenge and at
the same time to put that person
at ease in order to elicit the es-
sence of a person. He has also
employed unconventional dark-
room techniques that have
yielded prints of extraordinary
precision and depth. In addition
to his portraiture, it has always
been important to Pitz to create
abstract works, to be active as a
painter in the realm of surreal ex-
pressionism in the circle of the
"Cobra" group. RM

502 l Pitz

A Fritz Pitz

Ossip Zadkine, i960

Gelatin silver print
97.8x87 cm
ML/F 1992/14

Donation of the
City of Bocholt

Pitz I 503

504 I Pitz

A Fritz Pitz

Paul Delvaux, 1965

Gelatin silver print
64.7 x 87.5 cm
ML/F 1992/37
Donation of the

A Fritz Pitz
Henry Moore, 1969

Gelatin silver print
64.7 x 87.5 cm
ML/F 1992/26
Donation of the

Pitz I 505

Pocock, Philip

1954 Ottawa. Canada
Lives in Cologne

A Philip Pocock
East Berlin, 1984

Cibochrome print
49-5 * 33-9 cm
ML/F 1994/230
Cruber Donation '

*► Philip Pocock
Kreuzberg, 1984

Cibochrome print
49.2 x 33.2 cm
ML/F 1994/213
Cruber Donation

► Philip Pocock
Mawlianmee, 1989

Cibochrome print
101.6 x 76 cm
ML/F 1994/8
Uwe Scheid Donation

Philip Pocock, a Canadian of Irish descent, completed his formal educa-
tion at the New York University Film School under Haig Manoogian in
1979. Since then he has been active as an artist in the field of new me-
dia. After living in Toronto, Marseilles and New York, he moved to Col-
ogne in 1991, where he has been working ever since. In his early years
of artistic development he produced color photographs on Cibachrome.
and his first book entitled The Obvious Illusion: Cibachromes from the
Lower East Side was published in 1982. In 1982 he departed from this
type of photographic image reproduction and began to experiment.
He developed a completely new type of photochemical painting on
Cibachrome, at times painting illusionary versions of baroque paintings
with themes such as Venus or Daphne, but he also experimented with a
type of dot painting that was strongly reminiscent of Australian Abori-
ginal painting. He constantly sought to fuse opposites in his work, as
he did in Mawlianmee, where he combined pornography and abstrac-
tion. RM

506 I Pocock

Pocock I 507

rr °m:Cam era "
W °*6,. 9 o 4

Rotogravure
ML/F , 995/36
Cruber Donation

Post, William
Boyd

1857 New York

1925 Fryeburg, Maine

William B. Post, a New York financier by profession, was a prominent
amateur photographer in the 1890s. His picturesque shots of young
ladies in idyllic scenes appeared regularly in the photographic maga-
zines of his time. Shortly after the founding of the "Photo Secession" by
Alfred Stieglitz in 1902, he joined this group, whose goal was "to pro-
mote photography as a means of artistic expression". One year earlier,
in 1901, Post had moved to Fryeburg, Maine, where he focused mostly
on two topics: lily-covered lakes and snowy landscapes. Snow was a par-
ticular challenge to him, to bring out the subtle nuances of the interplay
of light and shadows on the white surfaces. Winter Weather, one of
this photographer's most famous shots, proves Post's talent for com-
position. Post boldly positioned the large white area of the snowy field,
divided only by a diagonal path, below the lone farm house at the upper
edge of the picture. MBT

508 I Post

^ print

,34/88
Donation

Barry Phngle studied at the Guilford School of Arts and later at the
Royal College of Arts in London. After completing his studies he began
his photographic career and worked with numerous publishing houses.
r 'ngle has devoted himself mainly to two themes: the erotic child pic-
re and the still-life. They are particularly distinguished by the simpli-
Cl ty of their composition. Pringle is interested in the beauty of one
5ln gle object or a smaller number of similar objects, be they corn cobs
r stalks of leeks, and directs his eye at the differences in similar things.
1e use of lighting is particularly significant in all his photographs, still-
pictures as well as nudes, and it is his specific way of emphasizing
hls way of seeing things. RM

Pringle, Barry

1943 South Africa
Lives in Copenhagen

Pringle | 509

W* 4*9 en,
ML / F '990 /74

Rajzik, jaroslav

1940 Hradec
Lives in Prague

Jaroslav Rajzik attended a technical school and then studied photo-
graphy at the Motion Picture and Television Faculty in Prague. In 1966
he began to teach there. In 198! he became assistant professor and
was head of the Motion Picture and Television Faculty in Prague be-
tween 1987 and 1990. In his work Rajzik has pursued the tradition of
experimental photography of the twenties. His work concentrates on
geometric abstraction, but not so much in the area of camera-less
photography, but rather in the arrangement of pure light phenomena
and light refraction, a photographic trend originated by Alvin Langdon
Coburn, the father of the vortograph. At the same time, his work has
roots in the visualism of the seventies and in the geometric light ex-
periments of the Czech pioneer of experimental photography, Frantisek
Drtikol. Rajzi'k's adherence to the experimental tradition has been of
great importance to Czech photography and it has been particularly
fruitful in teaching the younger generation of Czech photographers. RM

Do ** '

John Wilsey Rawlings, the fashion, theater and portrait photographer,
had a number of different jobs before being hired as an amateur photo-
grapher by Conde-Nast. He was sent to England to establish and head
the Vogue studio there. In 1945 Rawlings moved to New York to open his
own studio. In addition to his work for the American edition of Vogue,
he also wrote photographic books, such as 100 Studies of the Figure. In
1966 Rawlings published Trie Model, based on more than three years of
'ork with the same model. Rawlings considers it most important for
he model to arrive at a pose naturally, so that he would mostly record
Nations. Rawlings also propagates the art of omission, for example by

skingthe background. His body studies clearly show that move-
ments can be as characteristic as a look. LH

Rawlings,
John Wilsey

1912 Ohio

Lives in New York

510 I Rajzik

Rawlings | 511

Ray, Man

(Emmanuel
Rudnitzky)

1890 Philadelphia.
Pennsylvania
1976 Paris

■« Man R ay

Self -P°r,ra,t., 947

'"I**? c m
^/F, 977/55J

Crub « Collect

* Man Ray

Kiki,ln gres . Vj

1924

Cetotl "^erpn m
3 8 6 * 30 cm
ML / F 1977/648
Gruber Collection

HI- P- 5M-"
Man Ray
Kiki, 1926

Gelatin silver print
2 3?xi7.9cm
M L/F 1977/636
Cruber Collection

///. p. 5 > 5 :
Man Ray
Countess Casati.
around 1928

Gelatin silver print
39 x 2cj.S cm
ML/F 1977/616
Cruber Collection

Man Ray first studied art by taking night courses at various schools, in-
cluding the National School of Design in New York. Between 1908 and
1912 he studied drawing at the Francisco Ferrer Social Center in New
York. In 1911 he began to work as a painter and sculptor. He was one
of the first abstract painters of the USA and had close contact with the
avant-garde of European art. In 1915 he began to turn to photography,
working as a freelance photographer, movie-maker, and painter. In 1917
he was co-founder of the New York Dada group. In 1921 he went to
Paris, where he worked closely with the surrealists for a number of
years. In addition to his artistic activities he accepted commercial pro-
jects, especially in the areas of portrait and fashion photography. Whe
the Germans invaded Paris in 1940, he returned to the USA, where he
lived in Hollywood until 1950 and where he taught painting and photo-
graphy. In 1951 he returned to Paris, remaining there until his death.

512 I Ray

Ray I 513

5 i4 | Ray

Ray | 515

A Man Ray

Jean Cocteau, 1922

Gelatin silver print
36.5 x 30 cm
ML/F 1977/617

Gruber Collection

516 I Ray

▲ Man Ray
Pablo Picasso,
1932-1933

Gelatin silver print
29. 9 x 23. 9 cm
ML/F 1977/632

Cruber Collection

Ray I 517

< Man Ray

C o e,,, "' n *' Pnnt

ML / F '977/6 43
Cru ber Collection

► Man Ray
U PsonLip S , 19jo

Gelatin silver p, m
2z -9*V.5cm
ML /F 1977/620

Cruber Collection

518 I Ray

Ray I 519

_*

r

<5

Man Ray is considered to be one of the most important pioneers of
contemporary photography. His photographs broke new ground, espe-
cially in the experimental sector. Together with Lee Miller he developed
the solarization process, which he used mostly in portraits but also in
nude photography. With his "rayographs" he provided an important
impetus to camera-less photography. His friendship with avant-garde
'Sts of his time paved the way for the recognition of photography in
>e artistic context. Man Ray is one of the first artists whose photo-
nic works have been valued more in the world of the arts than his
'aintings or sculptures. RM

A Man Ray
Solarization, 1929

Celatin silver print
24.6x32.4 cm
ML/F 1977/646

Gruber Collection

< Man Ray
Dora Maar,
around 1936

Celatin silver print
27.1 x 21 cm
ML/F 1988/39

Gruber Donation

520 I Ray

Ray I 521

* Man Ray
Juliet. i 953

V-Sxiicm
ML / F '988/38

G'^berDonaticn

* Man Ray
The Veil, around
'93o

Gelatin silver p, m

ML/F .988/37
Cruber Donation

Man Ray
Max Ernst, 1935

Gelatin silver print
24.9mg.8cm
ML/F 1977/634

Crufaer Collection

III. p. 525.-
Man Ray
Coco Chanel,
1935/1936

Gelatin silver print
22.1x15.7 cm
ML/F 1977/621

G ruber Collection

522 I Ray

Ray I 523

524 | Ray

Ray | 525

: -

526 I Ray

■" M *n R ay

rear view
WO/1934

-Prim
m
33/408

-at, on

A Man Ray

Untitled (solarized rear

view of nude). 1920/1934

Gelatin silver print
25 x 20 cm
ML/F 1993/409
Cruber Donation

Ray I 527

Relang, Regina

1906 5tuttgart
1989 Munich

▼ Regina Relang
Shoes Walk Around
a Tree, 1936

Gelatin silver print
25.6x23.8 cm
ML/F 1989/129

Regina Relang's exposure to the arts began at her parents' h
graduating from high school, she studied painting fi rst <- e ' Af W
later in Berlin and Paris, where she was greatly impressed h*?***
Ozenfant. Following her exams, however, she changed h er *****
the teaching career she had planned originally and stan^?^ ^
self photography. d to tea ch her-

In 1933 she began to travel as a photojournalist through So u.
Europe. After stays in France, Spain, Turkey, and Corsica she h
her first success with a report on "Fishermen in Need" in Port i^
1936 she met the stateless Russian Arkadii Kuzmin, who later T' '"
come her husband. After trips to Southern France and Yu goslavia S h ° *"
began to turn to fashion photography in 1938.

She landed a contract with Vogue in Paris, London, and New York
and during these years had her first successes with Shoes Walk Around
Tree and The Clove Ballet. World War II broke out while she was on a
photographic assignment in Spain and she returned to Germany, where
she worked for Deutscher Verlag, a publishing house in Berlin and Vi-
enna. Between 1940 and 7942 she took pictures for Die Dame in Berlin
In 1944 the house where she was born in Stuttgart was completely des-
troyed. After the war she moved to Munich and opened her new studio.

During this time she worked with
every leading fashion journal and
enjoyed particularly good con-
tacts with the magazine Madame.
In 1951 she began to report twice
a year on fashion shows in Paris.
Florence, Rome, and Berlin.

After the death of her hus-
band in 1971 she also turned to
independent artistic work and, in
this regard, was mainly interested
in the merging of art and photo-
graphy. These early examples or
staged photography with fashic
ably dressed models placed in t

miliar contemporary settings a
distinct, in particular because

the rich use of colors. Regina

-ontmued working as a photographer until she passed away.
I her later years she donated her collection to the photographic
'seumatthe City Museum of Munich. RM

528 I Relang

A Regina Relang
The Glove Ballet.
1936

Gelatin silver print
25.3 x 23.4 cm
ML/F 1989/127

Relang | 529

Renger-Patzsch,
Albert

1897 Wiirzburg
1966 Wamel, near
Soest

A Albert Renger-
Patzsch
Ring-spinning
Machine, Head-
stock. 1961

Gelatin silver print
22.4x16.6 cm
ML/F 1986/240

A ► Albert Renger-
Patzsch

Pipe Air-Release
Valve, 1961

Gelatin silver print
22.3x15.6 cm
ML/F 1990/898

530 I Renger-Patzsch

Albert Renger-Patzsch, like August Sander. Karl Blossfeldt. or Laszlo
Moholy-Nagy, was one of the photographers whose name became syn-
onymous with the photography of the twenties. Being a firm opponent
of so-called artistic photography, Renger-Patzsch developed a precise
photographic style that strove for an exact reproduction of form, which
made him a leading German exponent of the factual rendition of indus-
trial and technical subjects. He became symbolic of the contemporary
enthusiasm for technical progress and its abundance of new shapes. In
publications such as The World is Beautiful (7928), Pioneering Technology
(1928), and Lubeck (1928), he couched his industrial photographs in a
programmatic context. These pictures are documents and aesthetic
guides of a technological age.

As a proponent of factual, realistic photography that should always
be subject to its imaging technique, Renger-Patzsch clearly distanced
himself from the artistic trends affected by Moholy-Nagy. In the eyes of
Renger-Patzsch, who understood photography to be more of a skill, the
experiments and new viewpoints of the photographic avant-garde ap-
peared more and more like an artistic fad, and he literally mocked ther

A Albert Renger-Patzsch
Advertising Picture for the
Jena Works, around 1935
Gelatin silver print, 38 x 28.2 cm
ML/F iQ77/6';s, Gruber Collection

Renger-Patzsch | 531

SJ» Mii

eaters
enwjrk

-7/S60

Election

wplefi:
Albert Renger-
Pattsch

Weeping Willow
Tree, A3see, Min-
ster, around 1962

GdoJi'n silver p"«t
16.4 cm

IW p. 534. lop n'ght:
Albert Renger-
Patzsch

i Forest,
-.-. around

Cthtin silver print
5.4 cm
191/216

bottom ,'e/t;
**« Renger-
PMzsch

T, ees.
Wound 1962

■'■-' print
*J"6.6 cm

-9'/222

'-P-534. bottom

*"** Renger-
p M*seh

-Tree

sprint

"6-7 ^

/

/

991/219

532 I Renger-Patzsch

Renger-Patzsch | 533

i his critique of the exhibition "Film and Photo" of 1929: "Their recipe

uccess: type from the top or from the bottom, maximize or minim-

enormously, the trash-can is the most grateful subject."

f 1944 Renger-Patzsch, who lived in Essen at that time, lost his

» during an air raid. After the war he and his family moved to the

'II village of Wamel near Soest. In the fifties and sixties Renger-

j became well known mostly as a photographer of landscapes

architecture. The fact that he continued to take industrial photo-

s was not recognized for a long time. Only in 1993 was he honored

aspect of his later works by the Museum Ludwig in Cologne on

■asion of the exhibition "Albert Renger-Patzsch: Late Industrial
Phot °graphy". MBJ

A Albert Renger-
Patzsch

Bulk Turneny, Card
Cylinder, 1950s

Gelatin silver print
i6.6x 22.4 cm
ML/F 1986/250

534 I Renger-Patzsch

Renger-Patzsch | 535

Rheims, Bettina

1952 Neuilly-sur-

Seine

Lives in Paris

Before becoming a photographer, Bettina Rheims worked

asa fashion

► Bettina Rheims
Claudya with Cloves.
Paris, 1987 From:
Female Trouble.
1989

Gelatin silver print
57.3x42.8 cm
ML/F 1995/245

Uwe Scheid
Donation

536 I Rheims

model, actress, art dealer, and journalist. In 197 8 she began * .

trait nhntno-ranhc mA ,.,u;u J„: _. . in gpor.

onto

robats was published in Egoiste in ! 9 8o. DuringThVfollowinrv'? ^'"
had her first twn trnlnpvhihiti^nc ;« +u« r- ^. ^ 5 ' ar Sn -e

trait photographs and while doing so, she devoted special atT
black-and-white prints. A series of nudes of fairground strin ^

had her first two solo exhibitions, in the Centre Georges Pom d
nude portraits in the Texbraun Gallery, Paris.

In 19 82 she began a series of animal portraits which were exhiht 4
in 19 8 3 in Paris in the Texbraun Gallery and in 19 8 4 in the Daniel 2 {
Gallery in New York. She worked for magazines, took her first fashio
shots and photographs for record covers and movie posters FromTg
on, in cooperation with the "Sygma" agency, she created photographic'
essays and portraits of celebrities. In 19 86 she produced a number of
advertising films, several video clips, and the leader for a feature film
She worked equally on portraits, fashion, and advertising photographs
At the same time she prepared a retrospective covering ten years of her
photographic work for the "Photographic Space in Paris". Accom-
panying this presentation, which took place in 1987^988, "Paris Audio-
visuel" published a book. Her work was well received by the press and
reviews appeared in Le Monde, Le Figaro, and Le Matin. Various photo-
graphic magazines (Photo, Photographic Magazine, Annual Photography,
Collector Photography) and journals (Paris Match, Stern) published port-
folios of her work.

In i 9 8 9 the Musee de I'Elysee in Lausanne exhibited Bettina Rheims'
pictures. In the same year her book Female Trouble was published in
Germany, France, and Japan. Simultaneously, the City Museum of Mun-
ich and the Parco Gallery, Tokyo, and Sapporo sponsored exhibitions. In
i 99 o she completed a series of portraits entitled Modem Lovers, which
was first exhibited at the Palais des Beaux-Arts in Charleroi, Belgium.
The Maison Europeenne de la Photographie in Paris opened with this
exhibition, and a book with the same title appeared in France, Germany.
and Japan. In i 99 2 Spies and Behind Closed Doors were published, the
latter with a text by Serge Bramly. From i 99 2 to i 99 3 Behind Closed Dot
was shown at exhibitions in the Galerie Maeght in Paris, the Hamiltons
Gallery in London, and the Galerie Bodo Niemann in Berlin. In 1994
Animal was published and Bettina Rheims received Le Grand Prixde
Photographie de la Ville de Paris. Her work is represented in numer
public and private collections in Europe, the USA, and Japan. RM

Rheims | 537

Riboud, Marc

1923 Lyon
Lives in Paris

A Marc Riboud
Applause for
Churchill. 1954

Gelatin silver print
33.1x49.4 cm
ML/F 1977/666

Gruber Collection

► Marc Riboud
Hunger in the
Congo, 1961

Gelatin silver print
29.5 x 19.7 cm
ML/F 1993/416

Cruber Donation

Marc Riboud's interest in photography began at the age of 14, when
his father gave him a Kodak Pocket camera. After having fought in the
French Resistance during World War II, he studied mechanical engineer-
ing at the Ecole Centrale in Lyon from 1945 to 1948. In 1951 he became
a freelance photographer and, in 1952, joined the "Magnum" agency in
Paris. In 1959 he became European vice president of this world-famous
photographic cooperative and served as its president between 1975 a" d
1976. Riboud's work stands for sensitive photojournalism reporting on
misery from travels all over the world, for example, Africa, China, and
Vietnam, not with exposures of great dramatic gestures but with mov-
ing insight reaching into small details. Riboud performs his journalist

O O ' *- «—■>*■ "^ ■' n.«-* Jinan UULrJIIi. IML/UUU pel IUIIIIJ nujww.

work not only in classic black-and-white but also in color, where exquis-

■-• iof

..u h .uuiiv.auuio uiLiuucb women oj japan (1951 j, or/cmu \\^^ti> —
North Vietnam (1970), Visions of China (1981), Cares et Trains 09 8 3)- A

ite composition and finesse of color are expertly applied. A selection «
his publications includes Women of Japan (1951), Ghana (1964). Faceoj

• 1 .1 ■ ,- . . _ . _ . /__o-\ A?

538 J Riboud

Riboud I 539

Richter, Evelyn

1930 Bautzen
Lives in Leipzig

A Evelyn Richter
Receptionist at
Leipzig Town Hall,
around 1975

Gelatin silver print
19.3 x 29.7 cm
ML/F 1988/67

Crufaer Donation

From 1948 to 1952 Evelyn Richter studied photography under Pan
Walther and Franz Fiedler in Dresden. Between 1953 and 1956 she
studied at the College of Graphic Design and Book Art in Leipzig. She
was a member of the Association of Creative Artists and worked on a
freelance basis between 1956 and 1980. Between 1958 and 1962 she was
a member of the group "Operation Photography" in Leipzig. Since 1980
she has been teaching at the College of Graphic Design and Book Art in
Leipzig, first as head of the school of photography, then as lecturer, and
since 1992 as full professor. Evelyn Richter never could accept condi-
tions in the GDR (the former East Germany) and was constantly sub-
jected to more or less open criticism. In spite of the fact that she was re-
garded as one of the country's leading contemporary photographers,
she was refused a professorship at her college before the dissolution of
the GDR. Even though she was permitted to travel to the West, where
she had been celebrated since the eighties, she was denied recognitor
at home. Her photographic journalism, along with her ingrained cntica
stance, exerts a great influence on the younger generation. RM

. t»P

W US'"

.,,020

Election

foi

Alexander Rodchenko was one of the most versatile artists in the Russia
of the twenties and thirties. Between 1910 and 1914 he studied under
Nikolai Feshin and Georgii Medvedev at the Arts College of Kasan,
where he met his future wife Varvara Stepanova. In 1914 he moved to
Moscow and attended the Stroganov School of the Arts. There Rod-
chenko met Kasimir Malevich and Vladimir Tallin, and during the years
that followed he evolved into one of the leading artists of the Russian
avant-garde. He worked as a sculptor, painter, and graphic artist, de-
signed posters for movie theaters, businesses and factories, and de-
signed book covers and furniture. In 1921 his triptych Pure Colors: Red,
te"oiv. Blue was a masterpiece of absolute painting.

Between 1922 and 1924 Rodchenko turned increasingly to photo-
montages as related to poster art and book design. Especially famous
re his illustrations of Vladimir Mayakovski's poetry Pro iXo (About
lis ). in which that poet proclaims his love for Lilia Brik. In his moni-
es Rodchenko tried to create a visual image of Mayakovski's verses,
eb y creating a unique connection between photomontage and con-
J ctivistic form. As he did in his other, earlier montages, Rodchenko

Rodchenko,
Alexander

1891 St. Petersburg
1956 Moscow

540 I Richter

Rodchenko | 541

Id***

Collection

» Alexander

Rodchenko

Cul with Leica, 1934

. er print

to • 29 c,v
ML/F 1978/1072

ludwig Collection

542 I Rodchenko

* Alexander

^chenko

''"otomontage

•wMayakovski's
Pf oeto, ,923

^n silver print

"""d media
Hem
ML /F -978/1018

^B Collection

Rodchenko | 543

A Alexander
Rodchenko
Dynamo Club, 1930

Gelatin silver print
26.5 x 40 cm
ML/F 1978/1107

Ludwig Collection

► Alexander

Rodchenko

On the Parallel Bars.

.938

Gelatin silver print
40 x 28 cm
ML/F 1978/1120

used existing photographic originals in Pro eto, i.e. not photographs he
produced himself. Only in 1924, when he was less and less able to find
suitable picture material for his montages, did Rodchenko reach for the
camera, at last recognizing photography as the artistic medium of his
era. Because pictures can be taken with a camera from every position,
photography, in Rodchenko's opinion, corresponded to the active eye
of man. Therefore, photography was predestined to render, in a repres-
entative manner, the confusing impressions to which modern big city
dwellers are exposed. By using bold and unusual perspectives, he
wanted to liberate photography from conventions and from the stand-
ard belly-button perspective and thus he evolved into a distinct pioneer
of photographic Constructivism. In 1928 he wrote in his manifesto-like
text Ways of Contemporary Photography. "In order to educate, man to a
new longing, everyday familiar objects must be shown to him with tot-
ally unexpected perspectives and in unexpected situations. New objects
should be depicted from different sides in order to provide a complete

impression of the object." In 1928 Rodchenko, who had given up pa
ing in favor of photography in 1927, bought himself a Leica which, be
Ludwig Collection cause of its handy format and quick operation, became his preferre

int-

544 I Rodchenko

Rodchenko | 545

■* Alexander
Rodchenko

Vlad ^'r Mayak
w,lh C lg a, el!e , 9J4

Ce,ot '"s.W pnnI
4°- 2 * 27-4 cm
ML / F '978/,o8o
Ludw «'g Collection

*■ Alexander
Rodchenko

Portrait of Mother,
1924

Gelatin silver prim
29 * 29 cm

ML / F 1978/1083

Ludwig Collection

546 I Rodchenko

Rodchenko | 547

tool for his work. This camera enabled him to realize to excess his ideas
of unusual camera positions, severe foreshorten! ngs of perspective, and
views of surprising details. Increasingly Rodchenko's photography was
dominated by the artistic element of the line. He liked to integrate ele-
ments such as grids, stairs, or overhead wires in his photographic com-
positions, converting them into abstract constructivistic line structures.
Stairs of 1930 and Girl with Leica of 1934 are undoubtedly among the
most famous photographs of this kind.

In 1930 Rodchenko became a founding member of the "October"
group, the most important organization for photographic and cine-
matographic art of that time. Between 1933 and 1941 he also worked for
the journal SSSR na stroike (USSR under Construction) which he had
founded together with Varvara Stepanova. MBT

548 I Rodchenko

A Alexander
Rodchenko
Gears, 1930

Gelatin silver print
6.5 x 10 cm
ML/F 1978/1106

Ludwig Collection

■< Alexander
Rodchenko
Pine Tree. 1925

Gelatin silver print
39.9x25.8 cm
ML/F 1978/1103

Ludwig Collection

Rodchenko | 549

-S/.053

t Ranz Roh
: '93°

Ml/F 1995/'"
U*« Scheid

Beginning in 1908, Franz Roh studied philosophy, literature, history, and
art history in various cities of Germany. From 1916 to 1919 he was assist-
ant to Heinrich Wolfflin in Munich, were he obtained his doctorate.

In 19 i 9 Roh began to work as an independent writer and art critic for
various newspapers. Between 1922 and 1923, encouraged by his work in
contemporary art, he began to produce collages and experimental photo-
graphs. In his photographic work, which was created mostly between
1923 and 1933, he favored abstractions, such as negative prints, photo-
grarns, or the superimposed printing of several negatives. Employing
these techniques, he created a fantasy world of images where, among
other things, female nudes are superimposed on architectural and na-
ture photographs.

In 1929 Roh and jan Tschichold published the epoch-making book
Photographic Eye, which was the first documentation of experimental
Photography besides Laszlo Moholy-Nagy's Bauhaus book. The time of
National Socialism became a time of internal emigration for Roh, dur-
""g which he worked on his collages and wrote his book The Unrecog-
fN Art/si, which appeared in 1948. It was only toward the end of his
lfe *hat Roh went public with his own artistic work and exhibited his col-
la 8 e s in galleries. TvT

Roh, Franz

1890 Apolda,
Germany
1965 Munich

550 I Rodchenko

Roh J 551

Rohde, Werner

1906 Bremen
1990 Worpswede

▼ Werner Rohde

Self-portrait - The
Photographer, 1935

Gelatin silver print
33.9x23.9 cm
ML/F 1978/1010

Originally Werner Rohde wanted to become a painter like h"
1925 he attended the Arts and Crafts School at Burg Giebich'e '"

Halle, studying painting under Erwin Hahs. It was at this time T'" '"
Rohde took up photography. Initially, he considered this m'ed^ *
product of his artistic development, but increasingly came to'rT * ^
it as a separate means of expression. It was because of Hahs ^ C ° gnize
Rohde also discovered his love for motion pictures, in particuJch
Chaplin. In many of his self-portraits he makes reference to his idol h'''
taking pictures of himself wearing a white mask or white mak* ,
black bowler hat. P and a

After Rohde had left Burg Giebichenstein in 7927, and before fini h
ing his studies, in order to learn the trade of glass-painting from his'
father, he concentrated more on his photographic work. He aligned
himself with the avant-garde trends of the New Vision and experi-
mented with bold perspectives,
double exposures, photomon-
tages, or exciting light effects. In
1929 he achieved his first success.
He showed a few photographs at
the photographic avant-garde's
famous exhibition "Film and
Photo" in Stuttgart. In 1935 his
companion and future wife Re-
nata Bracksieck introduced Rohde
to Berlin gallery owner Karl
Nierendorf, who asked him to
take pictures of his friends and
artists at the gallery.

After the war Rohde settled
with his wife in Worpswede. There
he devoted himself again to glass-
painting and verre eglomise, util-
izing the medium of photography
only for reproducing his glass
paintings. MBT

„dw.g.
Ss/>55

Between 1964 and 1969 Ulrike Rosenbach studied sculpture under Prof.
Joseph Beuys at the Art Academy of Diisseldorf, where she became a
master student. Since 1972 her work has concentrated on video produc-
tions, in particular video installations and performance art. Her artistic
work is based on her own experiences of life, questioning the historical
position of women in society and exposing structures of oppression.
Traditional notions and images of women become the mirror in which
she reflects the fundamental problems of women in society. Her video
w °rk deals with subjects such as Venus, the Amazon, or Hercules as
a counterpoint and also introduces occasional connections with Far

as tem philosophies and trains of thought. It Became a Matter of Life
a "d Death was created in 1985 on the occasion of a performance at the

lu seum Ludwig in Cologne. Hildegard Weber studied at the Technical
Colle ge, Cologne. She has documented the work of a number of artists

1 Edition to her own. RM

Rosenbach,
Ulrike

1943 Bad Salzdetfurth,

Germany

Lives in Homburg

Weber,
Hildegard

1939 Kleve. Germany
Lives in Cologne

552 J Rohde

Rosenbach and Weber | 553

Roth,
Sanford H.

1906 Dresden
1962 New York

" Sa "ford H Bm ,

27 * 345 cm
ML ' F '977/6 70

Cruber Collect ion

Sanford H. Roth was a self-taught photographer. From the very begin-
ning he worked as a freelance photographer. In 1946 he moved to Paris
and began working for numerous international magazines, including
Life, Harper's Bazaar, Paris Match, Collier's, Oggi, and Elle. The main
focus of his work was portraits. He included just enough ambiance in
his images to characterize the personality's essential traits. For exam-
ple, he positioned Alfred Hitchcock exactly as the great director himself
liked to portray himself for a few moments in his films - half hidden,
peeking from around the corner of a house. He portrayed Joan Crawford
as a mirror image sitting at a make-up table. Roth dealt with artists in a
special manner and took portraits of almost all the famous ones. From
1954 on, he lived and worked mostly in Rome. RM

Donation

554 I Roth

Harry C. Rubicam moved to Denver in 1897, where he was an agent for
"Fidelity and Casualty Co." insurance company. In 1903 he became a
member of the New York based group "Photo Secession". His picture
At the Circus, using the complex technique of heliogravure, appeared
next to those of Gertrude Kasebier, Edward J. Steichen, Alfred Stieglitz,
and others in issue No. 17 of 1907 of Camera Work. This book showed
at art photography was splitting into two directions, which could be
iefined as "pictorial against straight photography". While photographs
Jased on symbolist art were still prevalent, new picture ideas were be-
iing to emerge that were to blossom a short time later in Paul
and's work and especially in the photographs of the twenties. In
beam's photograph taken under the canvas of the circus tent, day-
t filters down on spectators' heads, an artist standing on a white
Se w ' tr > her arms gracefully extended rides around in a ring that is
°Pped on the right side. The composition is well thought out, without

t'g artistically stilted, and it relies on the photographic elements of
> e composition and the effectiveness of an everyday subject. AS

war
Rubi,
light
horsi

Rubicam,
Harry C.

1871 Philadelphia
1940 Denver

Rubicam | 555

Rubinstein, Eva

1933 Buenos Aires,

Argentina

Lives in New York

A Eva Rubinstein
Bed in Mirror, 1972

Gelatin silver print
14.7 x 21.4 cm
ML/F 1984/93

C ruber Donation

► Eva Rubinstein
Standing Nude, 1972

Celotin silver print
20.7 x 14.1 cm
ML/F 1984/92

Cruber Donation

Eva Rubinstein, daughter of Arthur Rubinstein, grew up in Paris and
studied ballet under Mathilde Kszesinska in Paris. In 1939 her family
emigrated to the USA, where Eva Rubinstein attended the French High
School in New York. Beginning in 1941, she attended ballet school in
California, where she studied under Bolm, Bekefi, and finally under
Oboukhoff and Nemtchinova in New York. Between 1951 and 1952 she
studied acting in Los Angeles, where she took part in productions and
studied modern dance under Bella Lewitzky. In 1953 she settled in New
York and danced at the Balanchine School and at the Martha Graham
School. Until the sixties, Eva Rubinstein devoted herself exclusively to
dance, but after her divorce she turned to photography, taking courses
at the New York Institute.

She participated in workshops given by Lisette Model and Diane
Arbus and began to travel. In addition, she devoted herself to portrait
and nude photography. In 1973 she photographed the Yom Kippur war
on the Golan Heights and at the Suez Canal. In 1974 she began to teac
photography at various colleges throughout Europe and the USA.

556 I Rubinstein

Rubinstein | 557

558 | Salomon

A Erich Salomon

Aristide Briand at the League

of Nations, 1928

Celotin silver print, yj.2 x 29.5 cm
ML/F 1984/98

Oruber Donation

Between 1906 and 1909 Erich Salomon studied zoology and engineering
in Berlin, followed by law in Munich and Berlin. Between 1914 and 1918
he was on war duty in the German Reichswehr. He was taken prisoner
of war and became an interpreter and spokesman for the prisoners at a
ench camp. After World War I he worked at the stock exchange, then

1 a piano factory, eventually founding a rental business for automobiles
fd motorcycles with sidecars. In 1926 he joined the Ullstein publishing
>use, where he was responsible for public relations work. There he was

>osed to photography, which motivated him to acquire his first cam-
J n Ermanox. In 1928 he attracted attention with a series of pictures

2 had taken with a hidden camera in a courtroom. These pictures were
olished in the Berliner lllustrirte, which compensated him with two

ths " wages. He then left the Ullstein publishing house and began
k,n g as a freelance photographer for such publications as the Berli-
wstrirte Zeitung, Muncher lllustrierte Presse, Fortune, Life, Daily Tele-
lp • and also for the Ullstein publishing house.

Salomon, Erich

1886 Berlin
1944 Auschwitz

A Erich Salomon
Summit Conference,
Chamberlain,
Stresemann and
Briand, 1928

Gelatin silver print
26.1 x 35.1 cm
ML/F 1977/69°
Gruber Collection

Salomon | 559

Gelatin silver prim

ML/F 1977/675
Gruber Collection

► Erich Salomon
Observers at the
League of Nations
1928

Gelatin silver print
277 x35.0 cm
ML/F 1977/672

Cruber Collection

A Erich Salomon
Round-table Talks.
1930

Gelatin silver print
27.8 x 36 cm
ML/F 1977/685

Cruber Collection

< Erich Salomon
Dr. Gustav Strese-
mann with Journal-
ists in the Foyer of
the Reichstag, 1928

Gelatin silver print
27.8 x 36 cm
ML/F '977/676

Cruber Collection

560 I Salomon

Salomon | 561

.; t Erich Salo mon
ln terv lewwith

Frid tiofN an se-., n
Ce neva. , 9a8

ML / p 1977/69,
Gr "berCollea,on

► Erich Salomon
Hugo Eckener in
conversation wilh
Oskar von Miller at
the Hotel Esplanade,
Berlin, around 1930

Gelatin silver print
29.9x39.9 cm
ML/F 1977/695

Cruber Collection

Salomon's way of photographing political and social events made
im the founder of modern political photojournalism. He had an in-
able gift for being everywhere without being noticed and thus his
otographs reflect accurate observation. He took advantage of his
rmanox camera and its large aperture lens, as well as high-speed glass

'es, which made intrusive flash unnecessary. His pictures gave the
viewer the feeling of actually being present at the events he portrayed,
'was Aristide Briand who, during a political debate from which journ-
*s had been excluded, finally discovered Salomon and exclaimed:
iere he is, the king of the indiscreet!"

Allowing his emigration to the Netherlands, Salomon was discov-
°y the National Socialists in Scheveningen and, being a Jew, he was
toTheresienstadt and later to Auschwitz, where he, his wife and
>nD 'rk were murdered. RM

A. Erich Salomon
American newspaper
magnate William
Randolph Hearst in
his castle La Cuesta
Encantada, Califor-
nia, 1930

Gelatin silver print
28.3 x 36 cm
ML/F 1977/694
Gruber Collection

562 I Salomon

Salomon | 563

Celatin silver print
17.7x23.7 an

ML/F 1988/80

Gruber Donalion

*■ Erich Salomon
Max Liebermann,
around 1905

Celatin silver print
28.4 x36 cm
ML/F .977/692

Gruber Collection

564 I Salomon

Celatin silver print
each 28.3x36 cm
ML/F 19 77/697-7Q2

Gruber Collection

Salomon | 565

Sander, August

1876 Herdorf,
Germany
1964 Cologne

Ci "" fa ^rom ole

paper

6 4-5* 48 cm
ML ' F 'SWoos
Cru ber Donation

*- Au g"stSande,
Y °""g Farme, s ln
their Sunday Best
Westerv/ald, i 9I j

Gelatin silver print
30.4 x 20.5 cm

' V,L / F '977/705
Cruber Collection

After working in the mines for seven years and serving in the military,
August Sander studied painting in Dresden between 1901 and 1902. His
intention was to enhance his artistic skills, in order to apply them to his
interest in photography, which he had developed on numerous trips and
while working at many photographic businesses in Berlin, Magdeburg,
Leipzig, Halle, and Dresden in 1898 and 1899. Finally, in 1902, he moved
to Linz, where he first worked at Studio Creif and then, in 1904, founded
the August Sander Studio for artistic photography and painting. In 19°9
he returned to Cologne, where he founded his studio in Lindenthal in
1910. There he began his life's work, People of the 20th Century, which
occupied him into the fifties. In the thirties he got into trouble with the
National Socialists on account of his son's political activities, causing
him in those years to devote himself almost exclusively to taking pic-
tures of landscapes in the Rhine River area and in old Cologne. Prior
that, by publishing the Mirror of Germany and Face of the Times, ne was

566 I Sander

Sander | 567

568 | Sander

^/ F '977/708

Gruber Collect

*; Au g^s a „ d&

He,nr| ch Hoe:| e .
around 1928

G' 1 "" silver prim
"S* '6.7cm
ML /F '977/7,,
Gf "ber Collection

►►August Sander

Schaefer, around , 92?

Gelatin silver print
« "59 cm
ML / F '977/736
Cruber Collection

► August Sander

The Architect Pro:"
Dr. Hans Poelzig,
Berlin, 1928

Gelatin silver print
28.4 x icj.4 cm
ML/F ,977/748
G ruber Collection

► ►• August Sander
The Scholar Max

Scheler. 1925

Gelatin silver pnnt
26.9x19.4 cm
ML/F ,977/745
Gruber Collection

August Sander

AlbertFischbachasa

Huntef with Dog,
arround ,910

Gelatin silvei .-

i4.6xlO.ICm

ML/F ,989/27
LotteLohe Donate

III. P- 573-
August Sander

Pharmacist Lin-.

around >9°7

Gelatin silo" P""'
A7 x 32.4 cm
ML/F ,977/747
Gruber Collects"

Sander | 569

570 | Sander

A August Sander
Porter, 1929

Gelatin silver print

!?&3 x 22.5 cm
ML/F 1993/433

Cruber Donalion

Gelatin silver print
22.5x1420'
ML/F 1977/735

Cruber Collection

Sander | 571

572 I Sander

Sander | 573

<i Aug" stS3nder

Colled' ' 1

4 Aogus tSarlder

- ound

Ul/F 1977/742

Collection

44 August Sander
Two Daughters of
Albert Fischbach,
around 1910

Gelatin silver prim
ij6x5ocm
ML/F 1989/29

Lotte Lohe Donation

■* August Sander
Kathe Lamers with
Hannelore and
Helrny. 1922

Gelatin siher print
'4-2* 10.2 cm
Ml/F ,993/437
Gruber Donation

ttl

▲ August Sander
Anton Raderscheidt,
1927

Gelatin silver print
2S.5 x 21 cm
ML/F 1993/434
Cruber Donation

574 I Sander

Sander | 575

able to accomplish at least the initial stage of his idea of an

pedic and systematic picture of the German people. Finally j °

son Gunther, collaborating with Ulrich Keller, published the 9 °' h ' S

work under the original title People of the 20th Century. After th H "***

tion of his studio and archive in 1944, Sander moved to Kuchh

the Westerwald region, where he continued working undpr tU Q

... ° ine most

primitive conditions. His name was almost forgotten in r rt i«„

e tc " m cologne until

■4 August Sander
Photograph for a
Sanka Advertise;
merit. 19^5
Ceiot'm silver print

ML/F i977/7 2 3
Cruber Collection

vrpant

:,S/,S

Gn**

Oona« ion

L Fritz Gruber showed his work at photokina in 1951 and arranged for
his pictures of old Cologne to be taken over by the Museum of the City
of Cologne.

Sander's portrait work constitutes an important contribution to the
recognition of photography as an art. Today, his systematic approach is
viewed as an early example of conceptual art, which was also not with-
out influence on the development of the creative arts. He is now con-
sidered to be Germany's internationally best-known photographer of
tr »s century. RM

576 I Sander

Sander | 577

Saudek, jan

1935 Prague
Lives in Prague

A (an Saudek

Lips with Drop, 1974

Gelatin silver print
15-8x22.8 cm
ML/F 1993/443
Cruber Donation

► Jan Saudek
Super Stripiease.
1982

Gelatin siher print,

colorized

each 16.2 x 122 cm

ML/F 1984/107

Cruber Donation

To a great extent jan Saudek's work is marked by two circumstances- by
h.s ch.ldhood, when he and his twin brother Karl were interned in a con-
centrat,on camp, where only by sheer luck they escaped the experiments
of Josef Mengele, and by visiting the exhibition "The Family of Man"
wh.ch he considered an expression of the deep need for familial har-
mony and which made him aware of photography as a means of ex-
pression.

Between 195 o and 1952 Saudek studied at the School of Industrial
Photography in Prague, before taking various jobs in farming and in nu-
merous factories. He has been interested in photography since the early
fifties and he stages his own pictorial reality. Saudek was one of the first
Czech photographers whose work became known in the West and this
earned him the suspicion of the Czech government until the eighties.

His photographs, initially black and white, later in color, revolve
around sexuality and the relationship between men and women, old age
and youth, clothing and nudity. Generally, he takes an antagonistic ap-
proach to attain powerful pictorial effects. To accomplish this, Saudek
sometimes uses strong imaging language, reminiscent of the coarse
ribaldry of medieval sexual life, an impression which is enhanced by the
always unchanged, drab ambiance of his pictures. Frequently, he stages
scenes in which couples appear alternately dressed and naked, young

578 I Saudek

Saudek | 579

9 an

Donatio"

► unSaudek

3 ,ound

■ cm
UyF 1993/442
Cnjber Donation

|»n Saudek

Marie Nr.i, around

Ctlotin silver print

■■cm
ML/F 1994/254
Gruber Donation

III. p. 583-
|an Saudek
What an Unlucky
Qrl, 1983

Celalia silver print
'3-9*9 cm
MUF 1994/256

Cruber Donation

girls reappear pregnant, and children grow older. Without artifice
Saudek's photography reaches into life at its fullest. His direct language
ver Y quickly met with lively acclaim in the art world. RM

580 I Saudek

Saudek | 581

582 I Saudek

Saudek | 583

Sawada, Kyoichi

1936 Aomori, Japan
1970 Cambodia

A Kyoichi Sawada
Flight to Freedom,
i960

Gelatin silver print
25.2x39.3 cm
Ml -/F 1977/751

Cruber Collection

Kyoichi Sawada became known as a press photographer who worked for
"United Press International" during the Vietnam War. Sawada's interest
in photography began early in life. At the age of 20 he became a news-
paper editor in Tokyo. In 1965 he had himself transferred to Vietnam in
order to experience the reality of war with his own eyes. He received sev-
eral international awards, such as the first prize of "World Press Photo"
in 1965 and the Pulitzer Prize for his picture Flight to Freedom in 1966.
The human drama of grief and terror, expressed by the distorted faces of
four children and their mother who were able to flee an attack on their
village by swimming for their lives, tells of the reality of the Vietnam War.
Sawada's pictures document the suffering of civilians under the rule
of soldiers, as well as wounding and pain on both sides. Time magazine
called this photojournalist "the best, certainly the most daring photo-
grapher working for UPI in Indochina". Sawada risked his life numerous
times on his many assignments to isolated territories of war. On Octo-
ber 28, 1970, Sawada was killed while on a photographic assignment m
Cambodia. LH

Hajime Sawatari studied photography with Kishin Shinoyama at the Fac-
ty of Fine Arts of Nihon University in Tokyo. Between 1963 and 1966 he
tanged to a circle of permanent employees at the Nihon Design Cen-
ter in Tokyo. Since then, however, he has been active as a freelance pho-
tographer, working both in motion picture and fashion photography,
and also as a photojournalist for Asahi Camera. In 1966 he worked as
a cameraman for the movie "The Tomato Ketchup Emperor". Here he
already showed his inclination for fantasy themes. In 1968 he married
Hi roko Arahari, with whom he had a daughter. Between 1969 and 1980
Sawatari kept a studio in Roppongi. In 1973 he was awarded the annual
P r 'ze of the Japanese Photographic Association. In that year he pub-
'shed his series Alice, which earned him the nicknames "Brother Alice"

1 "Cilles de Rais of the Camera" for years to come, influencing his
^ge as a photographer of young girls and women. In 1979 he was
me d Photographer of the Year in Tokyo. Since 1980 he has had a stu-
loin MinamiAoyamainTokyo. RM

Sawatari,
Hajime

1940 Tokyo
Lives in Tokyo

A Hajime Sawatari
Untitled (Girl on
Stairs) from the
series: Alice, 1973

Color print
10 x 13.2 cm
ML/F 1984/110

Gruber Donation

584 I Sawada

Sawatari | 585

Schad, Christian

1894 Miesbach,
Germany
1982 Stuttgart

A Christian Schad
Shadograph 15, i960

Celatin silver print
10.5x14.1 cm
ML/F 1977/752

G ruber Collection

► Christian Schad
Shadograph 20,
i960

Celatin silver print
23.5x1y.7cm
ML/F 1977/753
Gruber Collection

586 I Schad

From 1913 to 1914 Christian Schad studied painting for two semesters
at the Academy of Creative Arts in Munich. In 1915 he avoided war duty
and until 1920 lived as a painter and graphic artist in Zurich and Ge-
neva.

Through Walter Serner, with whom he worked at his newspaper
Sirius in Zurich, he remained in touch with Zurich dadaists Hans Arp,
Hugo Ball and Tristan Tzara while he was in Geneva. During his time in
Geneva he discovered camera-less photography while experimenting
with "found objects" and photographic papers. These photographs, of
which he produced approximately 30 in 1919, are the first artistic pho-
tograms - actually preceding the work of Man Ray and Laszlo Moholy-
Nagy. Since 1936 they have been called "Shadographs", a name first
coined by Tristan Tzara. Not until 1960 did Schad use this technique
again, creating a comprehensive late work.

His was a restless spirit. Between 1920 and 1925 he lived in Naple
and in Rome, then in Vienna and, from 1928 on, in Berlin. Beginning" 1
1935. when he was unable to support himself with painting alone, he

Schad I 587

ina dogr a p h
'96o ^ '

ML / F, 993/5.a
Cru ber Donation

worked temporarily in various other professions. Following the destruc-
tion of his studio during an air raid in 1943 he moved to Aschaffenburg.
and finally, in 1962, settled in Keilberg in the Spessart region. RM

A.T. Schaefer started out studying painting and design at the Arts and
Crafts School of Hanover, taking an interest in sculptures and painting.
In the late seventies he began to work more and more with the medium
of photography and since 1981 has been devoting himself exclusively to
this technology. In photography he discovered possibilities of exploring
the phenomenon of color and its perception in a more authentic man-
ner than it was possible to do with painting. Photography creates color
as a function of light, and vision is subject to the same conditions.
Schaefer investigates the vividness of photographic color against the

ackdrop of Goethe's Theory of Colors, seeing it as an opportunity for
transforming its teachings in a novel, visual manner. Whereas his early
work investigated mainly the possibilities offered by pure color spectra,
n particular the color red, his cosmic images of the series Skieron
offered subtle colors, in particular in tones of deep black and blue, as
well as variations of white. What appears to be the result of experimen-

I photography, reminiscent of the macrocosm and microcosm, is in

tfthe result of pure "straight photography". RM

Schaefer, A. T.

1944 Enningerloh,

Germany

Lives in Stuttgart

A A. T. Schaefer
MB 29, 1990

Cibachrome print,
acrylic point
234 x 120 cm
ML/F 1991/149

588 J Schad

Schaefer | 589

Schagin, Ivan

igo4jaros!aw
1982 Moscow

^nsc hagin
Spasky Tower
ar0und '935-i 9 j 9

C ?°t««b erprin ,
5&6 *4'.4on
ML / p '992/137

Ludwi g Collection

Ivan Schagin left home when he was quite young in order to earn his
living as a sailor. In 1924 he moved to Moscow, where he pursued differ-
ent activities. During this time he began to take an interest in photo-
graphy. In 1930 he made his hobby his profession and began working as
a press photographer for the newspapers Nascha shizn, Kooperativnaya
and Selchosgis, the national publisher for agricultural matters. In the
thirties Schagin specialized in the contemporary subject of technical
progress and took a number of pictures of the Red Army. Between 1933
and 1950 Schagin worked as a photojoumalist for the central youth
newspaper, Komsomolskaya Pravda, as well as for SSSR na stroike (USSR
under Construction). During World War II Schagin worked as a reporter
at various fronts. Beginning in 1950, he produced photographic volume
and reports for "Isogis", a government-operated publishing house, anc
for Sowjetskij khudozhnik, Progress, Pravda, and "Nowosti", the press
agency. MBT

-HS-ShaiKh*

cm

,2/142

flection

After arriving in Moscow, Arkadii Samoilovich Shaikhet began working
as a retoucher for a portrait photographer. In 1924 he turned to photo-
journalism and worked for Rabochaya gazeta and Ogonek. He became
a member of the Union of Russian Proletarian Photoreporters (ROPF),
on whose avant-garde style he had an influence. At that time his work
dealt mainly with the new life under Socialism, in particular the heroic
struggle of the individual. Together with Max Alpert and Solomon Tules,
he prepared a pictorial report covering 24 hours in the life of steel-
worker Fillipov, which presented an image of the high standard of living
of Soviet industrial workers and which was strongly tinged by propa-
ganda. Also, Shaikhet worked for newspapers such as SSSR na stroike
'USSR under Construction) and the Workers Illustrated Newspaper. During
World War II he was at the front, working as a war reporter. RM

Shaikhet,

Arkadii

Samoilovich

1898 Nikolajew
1959 Moscow

590 I Schagin

Shaikhet | 591

Ludw 'gColle aion

i*<*s

Collection

■* Arkadii S. Shaikhet
Moving Locomotive,

'935-1939

Gelatin silver print

38.9x58.5 cm

ML/F 1992/M3

Ludwig Collection

592 I Shaikhet

Shaikhet | 593

Scheffer,
Michael

1953 Schmalkalden,

Germany

Lives in Leipzig

A Michael Scheffer
From: City, 1987

Gelatin silver print
42.2x63.8 cm
ML/F 1991/194

After graduating from high school, Michael Scheffer began an appren-
ticeship as a surveyor. Between 1974 and 1977 he was a forest worker in
the area of the Eastern Harz. Until 1982 he worked as skilled surveyor.
Between 1982 and 1987 he studied photography under Prof. Arno
Fischer at the College of Graphic Design and Book Art in Leipzig. Since
then he has been working as a freelance photographer and has been a
member of the "El DOS" group in Berlin. Scheffer's photography depicts
the mundane, banal, and yet it has a disquieting effect on the viewer be-
cause of its lack of sharpness, its tight cropping and the direct access
permitted by photography. In his pictures Scheffer duplicates the view of
the citizen of the former East Germany. Concentrating on the immediate
environment to simulate an apparently accidental look into private life,
it is in fact the absence of social contexts that conveys the feeling of im-
pending threat. RM

Regina Schmeken started out studying art history and German art and
literature at the University of Essen, and it was only in 1976 that she be-
:ame a self-taught photographer. As early as 1978 she received the Prix
dela Critique in Aries and, in 1984, was awarded a grant for photo-
graphy by the City of Munich. Since 1986 she has been working in Mu-
nich for the Suddeutsche Zeitung. In addition to her professional activit-
ies, Regina Schmeken has been continuing her artistic work. Following
Picture series resulting from trips to New York, Paris, and Montreal, her
series of photographs of slaughterhouses caused a sensation. She did
n °t produce a photographic report, but concentrated on a few shots
illustrating the burden and sorrow of the slaughterers and the slaugh-
tered. The focal point was the relationship between humans and the
b °dies of animals, being intertwined in a symbiotic, fateful relationship.

er most recent publication Closed Society demonstrates that she has
mai ntained her artistic force in her professional work. RM

Schmeken,
Regina

1955 Gladbeck,
Germany
Lives in Munich

▲ Regina Schmeken
New York, 1981

Gelatin silver print
25x37.2 cm
ML/F 1988/86

Gruber Donation

594 I Scheffer

Schmeken | 595

Schmolz, Hugo

1879 Sonthofen,
Germany
1938 Cologne

A Hugo Schmolz
Glass Roof over the
Staircase of the Po-
lice Headquarters in
Dusseldorf, 1934

Gelatin silver print
16.5 x 22.4 cm
ML/F 1986/24

► Hugo Schmolz
Handrail, 1932

Gelatin silver print
47.8*35.1 cm
ML/F 1986/25

596 I Schmolz, H.

Hugo Schmolz studied photography under Richard Eder and attended a
trade school in Kempten. In 1896 he began to work as an assistant in a
studio. In November 1911 he and portrait photographer Eugen Bayer
founded a studio in Cologne-Nippes. Schmolz concentrated on architec-
tural photography. The architect Wilhelm Riphahn was one of his most
important clients. During this time Schmolz also took pictures for Do-
minikus Bohm, Theodor Merrill, Adolf Abel, Bruno Paul and others, and
he worked as a press photographer. His sober, factual style made its
mark on the architectural photography of his time. He had an excep-
tionally congenial relationship with Dominikus Bohm. In 1924 he and
Eugen Bayer parted ways and Schmolz opened his own photographic .
business. After Schmolz's death, his son Karl Hugo operated the busi-
ness under the name "Fotowerkstatte Hugo Schmolz" well into the
fifties. RM

Schmolz, H. I 597

Schmolz

th Clock.
Training
Bonn. '933

silver pnnt

rM HHugo

Set***
^Cologne Opera

•- «P hahn -
rtftin silver print
Hl/F ig89/'9 6

598 I Schmolz, H.

Because his father Hugo Schmolz was an architectural photographer,
Karl Hugo Schmolz was exposed to photography early on. In the
thirties he began accompanying his father on photographic assign-
ments. He took pictures for architects, including Adolf Abel, Bruno
Paul, Dominikus Bohm, Gottfried Bohm, Wilhelm Riphahn, and Rudolf
Schwarz. When his father died in 1938, the close cooperation he had had
with his father enabled Karl Hugo to continue contract work for their
business "Fotowerkstatte Hugo Schmolz" without interruption. Karl
Hugo Schmolz returned to his home town after serving in World War II
and documented the wartime destruction with a large-format camera.
This was one of the few photographic topics that he covered without
an assignment, as did his father, who had photographed the city of
Cologne during the twenties and thirties. His factual approach creates a
completely different tone from the emotional view taken by Hermann
c| aasen. The continuation of his work for the great architects of the
R hineland resulted in an impressive documentation of the reconstruc-
tion of the city of Cologne. In conjunction with this, he also took a com-
prehensive series of pictures of Augustusburg Castle in Bruhl.
At the same time Schmolz accepted more and more advertising

Schmolz,
Karl Hugo

1917 Weissenhorn,
Germany
1986 Lahnstein

Schmolz, K. H. | 599

6oo | Schmolz, K. H.

..

W**» Over print
ML ' F '989/192

A Karl Hugo Schmolz

View from Cologne Cathedral

onto Wallraf Square, 1946

Gelatin silver print
61 x 48 cm
ML/F 1989/195

Schmolz, K. H. | 601

6o2 I Schmolz, K. H.

4 Karl Hugo

Schmolz

s '- Alban, 1959

&btin silver print

6a 9'«7em
ML /F 1989/193

Gelatin silver print

53-9X45""
ML/F 1989/191

. p. 604:
Karl Hugo Schmolz
Staircase, WRM/ML.
Detail. 1986

Gelatin silver print
23.2x16.5 cm
ML/F 1986/153

. p. 605:
Karl Hugo Schmolz
Main Floor. WRM,
1986

Gelatin silver print
22.8x16.2 cm
ML/F 1986/164

Schmolz, K. H. | 603

604 | Schmolz, K. H.

Schmolz, K. H. | 605

A Karl Hugo

Schmolz

WK (Society for

Interior Design),

Two white plastic

Chairs, 1967

Color print
49-4 x 59.3 cm
ML/F 1986/29

► Karl Hugo
Schmolz

Draenert, Two white
Tables with Ball and
Two Columns, 1979

Color print
59.2x43.8 cm
ML/F 1986/36

606 I Schmolz, K. H.

assignments, took pictures for Westag and concentrated especially on
furniture photography. Today, his archive holds Germany's most com-
prehensive documentation of 30 years of living in Germany, from Inter-
ICibke to Eugen Schmidt, from Thome to Draenert. He was masterful in
portraying suggested home decor through the effective arrangement of
even the simplest furniture. Following his marriage to Walde Huth, a
photographer in Stuttgart, they set up a joint studio under the name
"schmolz + huth", thus adding fashion and portrait photography to
their range of services. The last assignment he accepted was to take
pictures of the new Museum Ludwig in Cologne, but he was unable to
complete it. Nevertheless, his "test pictures" had already established
the most important focal points of this building, setting the standards
for the task. RM

Schmolz, K. H. I 607

4 ft

Schneider,
Dietmar

1939 Breslau
Lives in Cologne

+ Dietmar
Schneider

r 9 r opp ^-

C'l°tin silv er prim

V1X330T,

ML / F '990/69

Dietmar Schneider has been living in Cologne since 1945. In the sixties
he gave up his profession to devote himself to art management. He be-
came the driving force of the Cologne art scene and was famous for
bringing art to a broader spectrum of the public. His project "Current
Art on High Street" involved the display of art in shop windows. Be-
cause of his connections with businesses, he was successful in arousing
their interest in art at a time when they were only accustomed to spon-
sorships of sports. He promoted artists and committed himself to an
art award given by the "4711" perfume company.

As a sideline, he has always documented art events and taken por-
traits of artists. In this way he has compiled an almost encyclopedic col-
lection of portraits of artists and art events in Cologne over the past 30
years. Also, many artists have used his photographs as a starting point
for manipulation. RM

pJwen 1936 and 1939 Toni Schneiders took an apprenticeship as a
photographer. He used his first Leica, which he bought in 1938, until the
fifties. During World War II he spent some of his time as a war reporter
in Italy and France. After being released from captivity, he again set up
his own studio in Meersburg on Lake Constance in 1948. In 1949 he
co-founded "fotoform". In 1950 he took over the direction of Werner
Mannsfeld's studio, a position which was to influence his later work. In
i95i he settled in Lindau. In 1953 he traveled to Ethiopia, Sardinia, Crete,
Yugoslavia, Scandinavia, and japan. During the years that followed he
built a comprehensive archive of photographs of buildings and land-
scapes that were published in numerous calendars and picture books.
RM

Schneiders,
Toni

1920 Urbar
Lives in Lindau

608 I Schneider

Schneiders | 609

Schrammen,
Eberhard

1886 Cologne
1947 Liibeck

▼ Eberhard
Schrammen
Untitled (Self-
portrait), 1930

Celotin silver print,
stencil photogram
23.8x17.9 cm
ML/F 1993/523

Cruber Donation

Eberhard Schrammen studied at the Art Academy of Diisseldorf
the Archducal Saxonian College of Creative Arts in Weimar. Und ^ *
van de Velde he cultivated additional contacts with the Arts and C ^
Academy and expanded his studies with numerous trips In ,1 ?**
ticipated in the "Burga" exhibition of the German Association of A ■*"
in Leipzig and, as a result, shared the Villa Romana Award in Fl 0r ^
He was drafted during World War I, after which he participated inT*"
merging of the former Arts and Crafts College and the Academy of An
into the State Bauhaus of Weimar. He was a student of Oskar Schle
mer, publisher of the first Bauhaus journal, DerAustausch, master &
teacher of the carpentry workshop, and he built furniture. In 1925 h e
joined the Gildenhall Cooperative of Commercial Artists and also be-
came a member of the German Crafts Association.

Schrammen remained active as an artist, painter, graphic artist, and
writer. There is little evidence of his written work. Even his art was for-
gotten for many years until it was rediscovered by L. Fritz Gruber, who

donated a number of Schram-
men's works to the photographic
collection of the Museum Ludwig.
Schrammen worked especially in
the field of pattern photograms,
a technique he developed that is
particularly suitable for illustra-
tions in books and newspapers.
Schrammen considered himself
a craftsman and universal artist
who integrated applied work in
his understanding of art. RM

?95 /. 2 8

U^Scheid

610 I Schrammen

Cundula Schulze el Dowy trained as an industrial trader and attended a
college of advertising and design in Berlin before studying photography
under HorstThorau at the College of Graphic Design and Book Art in
Leipzig between ! 97 9 and 1984- Initially, her photographic work dealt
with black-and-white cycles of social criticism. Near her apartment at
the Prenzlauer Berg she took pictures of people in the backyards of East
Berlin. The unbeautified, yet also sensitive photographs in this series
show people in the Scheunenviertel area, the Pfarrstrafse, at work or in
the slaughterhouse. In 1983 she changed to color photography. Her in-
ternational breakthrough came when she participated in the exhibition
"Private Photography" in the USA in 1987 and in the Rencontres Interna-
tionales de la Photographic in Aries in 1988. TvT

Schulze
el Dowy,
Gundula

1954 Erfurt
Lives in Berlin

Schulze I Gil

come a photographer and entered into a contract with the Ullstein pub-
lishing house. He became a chronicler of Berlin life, took pictures in
Pomerania and Prussia and produced photo-reports for Berliner lllu-
fflrte. He became famous, in particular, for his pictures of daily life in
Berlin and for his Puddle Jumpers, young women and girls in summer
Besses who with legs spread, at times umbrella in hand, jumped over
'ddles onto the sidewalk. RM

614 I Seidenstiicker

Seidenstucker|6i5

SeidenstLicker,
Fried rich

1882 Unna
1966 Berlin

A Friedrich
Seidenstiicker

Untitled (Sleeping
Mother wilh Baby
Carriage), 1932-1936

Gelatin silver print
'3 x 18.2 cm
ML/F 1988/470

Cruber Donation

*" F riedrich
Sei denstuck er

M nti ! ,ed(s,ee p-g

Man )''932-i 9 3 5 8

Ce,ot '"^e rpnnt
V-3 ' ii-4 cm
ML / F '988/, 04

C '"ber Donation

*■*■ Friedrich
Seidenstiicker
Untitled (Sleeping
Girl). i932-, 936

Gelatin silver print
V-5* 12.5 cm

ML/F 19 88/i 05

Gruber Donation

Friedrich Seidenstiicker became interested in photography at an early
age. When he was only 17, he built his own camera from a cigar box,
using the lens from a laterna magica. From 1902 to 7903 he studied'
mechanical engineering, first in Hagen, later in Berlin. There he de-
veloped close connections with artists of his time and began to take pic-
tures of them. His first major series was created in the Berlin Zoo, and
it showed the specific sense of humor which was evident in much of his
work. His powers of observation and his feeling for the comical in every-
day situations made him an extraordinary chronicler of Berlin's daily life.
Between 1914 and 1978 he worked in the Zeppelin building in Potsdam.
From 1919 to 1922 he studied sculpture at the Arts College in Berlin,
after which he decided to make a profession out of his artistic inclina-
tions. Between 1922 and 1930 he made frequent trips to Munich, Paris,
Berlin, and Rome and he participated in numerous exhibitions, but he
was unable to make a living with his art. Therefore, he decided to be-

*■ Friedrich
Seidenstiicker
Untitled (Sleeping
Couple), 1932-1936

Gelatin silver print
'7-5 x '3 cm
ML/F 1988/102

Gruber Donation

► ► Friedrich
Seidenstiicker
Untitled (Sleeping
Dog), 1932-193 6
Gelatin silver print
77. j xi2cm
MU/F 1988/103

Cruber Donation

612 I Seidenstiicker

Seidenstiicker | 613

^he, Seuphof

Mondnan Studi
1929

Celoi »< silver print
2 °-4*3 7 .8 m

ML /F 1980/355 V|

Seuphor,

Michel

(Michel Berckelaers)

1901 Antwerp
1989 Paris

It was in school that Michel Berckelaers used his pseudonym "Seuphor"
for the first time, having derived that name as an anagram of the word
"Orpheus". At the end of World War I he joined the Flemish movement
and published a number of battle pamphlets. In 1921 he founded the
newspaper Het Overzicht, which dealt with abstract art and which was
joined by such artists as Robert Delaunay, Laszlo Moholy-Nagy, Fernand
Leger, Kurt Schwitters, and others. Following several trips between 1922
and 1924, he ceased publishing his newspaper in 1925.

In 1925 Seuphor began to turn to photography. He developed into
a chronicler of the Paris art scene and took portraits of many of his
artist colleagues. Together with Joaquin Torres Garcia, he founded the
group "Cercle et Carre" in Paris. Between 1937 and 1948 he withdrew to
Anduze in Southern France and worked for the magazine L'Aube, pub-
lishing autobiographical novels, essays, and poetry. From 1943 t0 n 944
Seuphor was active in the Resistance. In 1951 he returned to Paris and
worked as the French correspondent for the American Art Digest. He
published books on contemporary art, devoted himself intensely to
drawing, and worked as an art critic. RM

Peter Sevriens was a sailor for
many years before he began trad-
ing in antiques in Germany. This
business eventually led him to be
interested in making art objects.
The unusual aspect of all his ob-
jects is the inclusion of photo-
graphy. In this context he does
not restrict himself to making
collages of photographs, but in-
cludes in his works like a leitmotif
a camera, parts of a camera, or
reconstructed camera-like ob-
jects. On one hand, he under-
stands the camera as an object
that may be used and defamili-
arized in many ways, and on the
other he recognizes its facilitat-
ing function between reality and
perception. In some of his early
works this is still evident in a
quiet and reserved manner. Lined
up and tied up are a fragment
and a photograph of the frag-
ment, a shell and a photograph
of the shell, a stone and a photo-
graph of the stone, etc. on a clean
background reminiscent of an
archeological collection or a mu-
seum display. In the center is the
camera, the evidence. In his more
recent works Sevriens increas-
-gly cultivates his ironic, provocative discourse with the camera. It is
worked into the art, from the old folding camera to the expensive Leica.
!t has to be incorporated in things which it was originally meant to
r «cord from a distance - the camera itself becomes the subject. RM

Sevriens, Peter

1942 Venlo,
Netherlands
Lives in Meinerz-
hagen, Germany

■4 Peter Sevriens
Untitled. 1991

Metal, photography,
mixed medio
749 x50 cm
ML/F 1991/286

616 I Seuphor

Sevriens | 617

A '

Seymour, David

1911 Warsaw, Poland
1956 Suez. Egypt

A David Seymour
School Vaccination,
around 1948

Gelatin silver print
'5-9* 24 cm
ML/F 1994/273

Gruber Donation

618 J Seymour

-dL

David Seymour grew up in Warsaw and in Russia. After finishing high
school, he began to study art and photography at the Leipzig Academy
of Graphic Arts. After completing his studies in 1931 he moved to Paris,
where he continued his training at the Sorbonne until 1933. There, he
also assumed the pseudonym "Chim", by which he was known to most
of his friends and colleagues. He became an independent photographer
and, beginning in 1934, was able to publish his work regularly in the
magazine Regards. In Paris, Seymour became friends with Henri Cartier-
Bresson and Robert Capa.

In 1936 Seymour, a passionate liberal and anti-fascist, went to Spain.
With his camera he captured the terror of civil war, documenting sol-
diers fighting at the front and the daily life of the civilian population in
the back country. His pictures of air raids on Barcelona earned him
worldwide recognition as a photojournalist.

In 1939 Seymour returned to Paris, went from there to Mexico, and
in the same year settled in New York. Between 1942 and 1945 ne was in
the US Army in photo-reconnaissance and as an interpreter. After World
War II he traveled for UNESCO to Czechoslovakia, Poland, Hungary,
Germany, Greece, and Italy to record the effects of war on children. In

A David Seymour
Greece, Evacuation of
Children, around 1940

Gelatin silver print
23.7x19.3 cm
ML/F 1993/50 2
Gruber Donation

Seymour | 619

" David **no Ur
Untitled.

around

947

Print

Cc >°tin silver
Cr "be, Donation

*■ D avid Seymo Ur
Untitled,
around 1948

Gelatin silver print

ML / F 1994/276

Gruber Donation

1949 UNESCO published the result of this work in the book Children
of Europe. Beyond this assignment, children remained his favorite and
most impressive photographic theme.

In 1947 Seymour, together with his friends Henri Cartier-Bresson,
Robert Capa and George Rodger founded the international picture
agency "Magnum". When Robert Capa died, Seymour took over the
presidency of the agency. Nine years later, in 1956, Seymour traveled
to Greece to study antique monuments when the Suez Crisis escalated
into war. The photographer went to Suez via Cyprus. He was killed in
Suez on November io of that year by Egyptian machine-gun fire while
he was reporting on an exchange of prisoners. MBT

620 I Seymour

Seymour | 621

Shinoyama,
Kishin

1930 Tokyo
Lives in Tokyo

A Kishin Shinoyama
Two Rear Views of
Nudes, 1968

Cetatin silver print
79.SX 30.6 cm
ML/F 1977/764

Gruber Collection

622 I Shinoyama

Kishin Shinoyama, the son of a Buddhist monk, was supposed to fol-
low in his father's footsteps and become a monk at his temple. Instead
he let his brother take his place and opted in favor of photography. Be-
tween 1961 and 1963 he studied photography at Nihon University in
Tokyo. Between 1961 and 1968 he worked for the Light-House advert-
ising agency in Tokyo. In 1966 he was awarded the Prize for Young Pho-
tographers by the Japanese Association of Critics, and his first pictures
were published in Camera Mainichi. Since 1968 Shinoyama has been
working as a freelance photographer in the areas of fashion, sports, ad-
vertising, and the press. In 197 o he was honored by the Japanese Asso-
ciation of Photographers as Photographer of the Year. He became
known as a photographer of nudes, and his pictures were exhibited
at photokina. His nudes attracted attention because he did not adhere
to conventions, but rendered highly formalized views of the body. Shi-
noyama saw nude photography as a modeling problem encountered
by a sculptor, leading him at times to create abstract forms. In 1974
he caused an international sensation with his series on the Tattooing
House in Yokohama. He was the first photographer to provide images
of the world of traditional tattooing art by Japanese artist Kuniyoshi.

Shinoyama followed this up with a quiet, almost meditative study of tradi-
tional Japanese houses and gardens, offering the European world an in-
ornate glance at the Japanese way of life. Nevertheless, he continued to
Pursue nude photography with great intensity. In 1985 he published Shi-
mama, a series for which he photographed nude dancers with nine
cameras triggered at the same time, so that the final picture was com-
posed of as many parts. In 1990 he also employed the large format with
h 's photographic series Tokyo Nude, for which he arranged panorama-like

A Kishin Shinoyama
Brown Lily. 1968

Celaiin silver print
18.8x18.7 cm
ML/F 1977/766

Gruber Collection

Shinoyama | 623

A Kishin Shinoyama
The Birth, 1968

Gelatin silver print
18.4 x 18.2 cm
ML/F 1977/765

Cruber Collection

overviews of nudes to create a surreal world which is illuminated
artificially and populated by doll-like beings. Today, Shinoyama is con-
sidered to be one of the leading Japanese photographers, represents
the generation that brought recognition to Japanese photography all
over the world. RM

624 I Shinoyama

A Kishin Shinoyama
Nude Over Fence, 1969

Color print. 23.1x18.2 cm
ML/F 1977/767
Cruber Collection

Shinoyama | 625

Sieff, Jeanloup

1933 p a"'s
2000 Paris

aj

▼ Jeanloup Sieff
Homage to Seurat,
1964

Gelatin silver print
30 x20 cm
ML/F 1984/114

Gruber Donation

In 1953 Jeanloup Sieff studied literature, journalism an H u
the Vaugirard School of Photography in Paris. A year \L *?***$*
photography in Vevey in Switzerland. He began his ca StUdied

journalist in Paris, working for Elle as a photojoumaH^d V u^^
Photographer between 1955 and , 95 8. Following a brief Zl ?

Magnum" in , 959i during which he reported from Creec TuT P h
Poland, he worked as a freelance photographer until JT * a ° d

"Prix Niepce" in the same year. Since then he as oto ' T"* **

Esquire, Look, Vogue, and t W en, in both the USA and Europe ^

S.eff was also a celebrated photographer of nudes. One of his «*
, tools ,s the wide angle, which gives his nudes a feeling oZT
ness.suggest.ng a kind of distance of the naked models even ^

they are often looking directly at
the camera. Sieffis less known
for his excellent landscape pho-
tographs. Black House of ,964 is
an early example of this genre - a
picture that indicates the dramat-
izing effect of a 28 mm lens and
the virtuosity with which Sieff
captures in his black-and-white
photographs on the one hand the
textures of wood and red grass
and on the other silhouettes,
shadows and sky formations. AS

► Jeanloup Sieff

Black House. 1964

Gelatin silver print
10 x20 cm
ML/F 1984/113

Gruber Donation

626 I Sieff

Sieff I 627

Simonds,
Charles

1945 New York
Lives in New York

In his miniaturized cities, such as Park Model /Fantasy (1974-1976)
in the collection of the Museum Ludwig in Cologne, Simonds dem-
onstrates the evolutionary process of an imaginary people, the "Little
People", in various stages: from a "linear" via a "circular" to a "spiral"
culture. Simonds' "Little People" are nomadic. Their settlements,
landscapes and ritual spaces can usually be found in easily over-
looked corners and niches of modern, largely devastated big cities.
For Simonds the life of these invisible people is based on faith, on
a special attitude to nature, and on close ties to the earth. The
theme of his Park Model and related works is always excavation, in the
historical as well as psychological sense.

Simonds' interest in cultural and psychological relationships be-
tween man and his environment, the earth, is expressed in different
ways - from a plane of personal imagination up to a social metaphor.
"I have an interest in the earth and in myself, or in my body and the
earth, in what happens when they are intertwined with each other or
with all the related things, symbolically and metaphorically, such as
my body as the body of all humans, or the earth as the place where we
all live."

In his private rituals, which he documents in films or photographs,
Simonds goes in search of the tracks of human evolution. In his photo-
graphic series Birth of the year 1970, a human figure appears - the artist
himself- from a reddish rock. This, too, concerns an evolutionary pro-
cess of man, as well as his being in harmony with nature, in harmony
with his environment. Like many of his photographic works, Birth is
a series of still images derived from filming a performance. In other
works, for example Body/Landscape (1974), the artist's body forms a

M-

ountain landscape, in which he writhes in the nude in a field of mud.
His body is born to the earth and at the same time of the earth.

Simonds' work is closely linked with the land and body art of the
seventies. Dennis Oppenheim, for example, made an 8 mm film in 1970
entitled "Petrified Hand", in which he gradually covered his right hand
with stones, thus making it invisible. In his large-scale project "Earth-
works", the land-art artist Michael Heizer "made drawings" with and on
the earth. "My personal association with earth is quite real. I like lying
in earth. [...] my work with earth satisfies an extremely fundamental de-
sire", says Michael Heizer. In all cases man finds his way back to nature,
and the injured relationship between man and his environment is
healed. CC

^

A Charles Simonds
Birth, 1970

Color prints
20 photographs,
each 18.6x23.6 (alto-
gether 49 x 145) cm
ML/F 1979/1166 l-XX

628 I Simonds

Simonds | 629

Slavin, Neil

1941 New York
Lives in New York

A Neal Slavin
Miss USA Pageant
and Miss Universe,
'973

Gelatin silver print
24.2 x33s cm
ML/F 1984/115

Cruber Donation

Between 1959 and 1963 Neil Slavin studied painting, graphic design and
photography at Cooper Union School. In 1961 he received a scholarship
to study at Oxford. In the same year he worked as a photographic assist-
ant at the Guggenheim Museum in New York. Since then he has been
working as a freelance graphic designer and photographer for Fortune,
Newsweek and Stern, among others. Since 1975 Slavin has been working
in his own studio as well as workshops at colleges including the famous
School of Visual Arts in New York. Slavin has become especially known
for two publications which could be called sociological photographic
project studies: When Two or More are Gathered Together (1976) and
Britons (1986). Since 1973 he has addressed the phenomenon of groups,
clubs, and organizations, which he carefully composes in group pictures
with the concerned interest of an anthropological researcher. The tech-
nically brilliant color photographs used for Britons were created with a
20 x 24 inch Polaroid Instant Camera. AS

,*>-

£ug ene
Street.

Smith

burgh. 1955
sprint

,77/776

Election

"Humanity is worth more than a picture of humanity, which ultimately
can serve only for exploitation." This is the credo of W. Eugene Smith,
who has rendered outstanding services to photojournal.sm w.th his ex-
raordinary political and social commitment.

In 1933 Smith took his first photographs and, a short time later,
managed to sell them to various newspapers. In 1936 he received a
scholarship for photography at Notre Dame University in Indiana.
Thereafter he moved to New York, where he studied under Helene
Sanders at the New York Institute of Photography. In i 9 37 and 1938
Smith worked as a photojournalist for Newsweek before moving to
the "Black Star" agency as a freelance photographer. Between i 9 39
and 1942 he had a contract with Life magazine. During World War II

Smith,
W. Eugene

1918 Wichita. Kansas
1978 Tucson.
Arizona

630 J Slavin

Smith I 631

A W. Eugene Smith
Charlie Chaplin
with Top Hat During
the Filming of
"Limelight", 1952

Gelatin silver print
23. 1 x 34 cm
ML/F 1977/779
Gruber Collection

► W. Eugene Smith
Charlie Chaplin Dur-
ing the Filming of
"Limelight", 1952

Gelatin silver print
34.2 x 25.9 cm
ML/F 1977/778

Cruber Collection

632 I Smith

Smith worked as a war photographer in the South Pacific, where he took
some of his most impressive pictures, for which he paid with serious
injuries caused by grenades. After the war and after his recovery - his
wounds required 32 operations altogether - Smith returned to Life ma-
gazine.

During subsequent years he had an impact on the photography of
this magazine, because he wanted to do away with the conventional ap-
proach of using pictures as mere illustrations to accompany the text,
wanting instead to give greater emphasis to the pictures themselves. As
a result of this, Smith was instrumental in the development of the in-
dependent form of the photo-essay. One of his most famous pieces or
journalism in this regard was the photographic series on a Spanish vil-
lage, published in Life in 1951. Because the editor had room for only V
pictures, a supplement with an additional eight pictures was added.
Here, the photographs - completely according to Smith's concept -
were presented entirely on their own strength, without any text.

In 1955 Smith left Life magazine to work with the "Magnum" ageri
a relationship that he kept up until 1959. During subsequent years t

Smith 1 633

:*: Eu8ene ^

P° r ' r aitin,h e

Self-

Re a'ViewMirro
around 1963

266 *34-5 cm
ML / F ^977/768
Gruber Collection

► W. Eugene Smith
Albert Schweitzer,
1949

Gelatin silver print
26.7*34.2 cm
ML/F 1977/773

Gruber Collection

634 I Smith

r M/. Euge"

Smith

\j/illiams.

^rpnnt

■cm
3^1977/771
CfU ber Collection

photographer discovered the book as a suitable medium for publishing
his photographs. By using this medium, he could exercise complete
control over the presentation of his photographs.

In memory of Smith's immense human commitment, the Interna-
tional Center of Photography in New York has been awarding the W.
Eugene Smith Memorial Fund Scholarship since 1980. MBT

Smith I 635

Snow, Michael

1929 Toronto,

Canada

Lives in Toronto

▼ Michael Snow
Imposition, 1976

Color print
160 x 96 cm
ML/F 1985/39

In the early fifties, Canadian Michael Snow attended the Ont
of Art, marrying artist and film-maker Joyce Wieland in 10 ^ C °" -
faceted talents of Snow manifested themselves in his activiti^ 6 mUlt '"
tographer, musician, artist, and film-maker. He sees his pho^ ^ * Ph °"
influenced by painting and sculpting rather than by photoRraT^
nology. In 1961 Snow began with his Walking Women series and '' **"
new forms and environments with various arrangements of *****
pictures of details of persons. In 19 6 2 he introduced Four to Fi^ ^^
age of twelve rectangular photographs with sections of a walking ^^

man in various contexts, thereby

establishing new spatial and opti.
cal relationships. The vertical
arrangement of the two central
pictures alone assures the curios-
ity of the viewer, triggering the
necessary search for a new pictor-
ial reality. In this context Snow
considers important the process
and the new arrangement of the
individual parts, which indirectly
illustrate the progress of the wo-
man. Snow's work with motion
pictures and his photography ex-
hibit many similar elements. The
environment Field/Champ (1973-
1974) includes 99 rectangular
photographs with details of
plants. Since 1955 Snow has been
a professor at the University of
Toronto, receiving several awards
and a Guggenheim grant. In 1977
he was represented in the Cana-
dian pavilion at the Biennale in
Venice and at "documenta VI" in
Kassel. LH

636 I Snow

Frederick Sommer showed an interest in photography early on, but first
he studied landscape architecture at Cornell University in Ithaca, New
York. Between 1931 and 1935 Sommer lived as a painter and occasional
photographer in Arizona. His acquaintance with Alfred Stieglitz con-
vinced him to devote himself entirely to photography. In 1936 he met
Edward Weston, whose tone value scale impressed him especially.
Shortly thereafter, the young photographer began to work with an 18 x
24 cm camera.

Sommer's preferred subjects were rock fissures and the expansive
landscape of Arizona. In 1939 he created a series of grotesque still-life
photographs depicting the heads and entrails of chickens with impress-
lv e precision. This series also reflects his interest in the art of Surreal-
ism, which stemmed from his friendship with the painter Max Ernst,
whom he froze "in stone" in a famous portrait taken in 1946. MBT

Sommer,
Frederick

1905 Angri, Italy
Lives in Prescott,
Arizona

▲ Frederick Sommer
Max Ernst, 1946

Celotin silver print
19.2 x 24.1 cm
ML/F ^77/785

Cruber Collection

Sommer | 637

Spahn, Erich

'957 Weiden,
Germany
Lives in Amberg

; i Eri chs pahn

Mll <co Viejo

C ' htin ^cr print
,6oj( '6ocm
ML / F '995/iji
Locher D n at i 0n

.£»*'

,OU<"

Following an apprenticeship in photography in Regensburg, Erich
Spahn studied painting and photography at the Academy of Arts in
Kassel and he became the fifth-generation photographer to follow in
the footsteps of his ancestors. From 1980 to 1981 he attended a master
class at the Bavarian State Institute of Photography in Munich. His
photographic work relates to the tradition of the abstract-concrete, to
structures, stone patterns or light and shadow effects, and he uses crop-
ping techniques in order to carry out minimal changes with horizontal,
vertical, or diagonal shifts, axial rotations, counter-movements, or color
changes from one picture to the next. The image is conceived in his
mind and composed in the camera. RM

638 J Spahn

Id

,.. 9 8S
sprint

po/54
Deutsche Leasing
Donatio 1 "'

Between 1977 and ! 9 8o Erwin Olaf (Erwin Olaf Springveld) attended a
school for journalism in Utrecht. Since 1981 he has been working as a
freelance photographer for the homosexual scene in the Netherlands
and for various international papers such as Cai-Pied, The Advocate,
Rosa Flieder, and Cay-krant.

In 1968 he secured a contract to produce all the covers for Vinyl,
a magazine for young people. During subsequent years his magazine
covers, posters and record covers were highly successful. In 1988 he
achieved his breakthrough with the first publication of his series Chess-
men, earning him international recognition. It was published in Focus
and awarded first prize for Young European Photographers by Deutsche
Leasing. Since then he has been working predominantly for newspa-
pers. In 199 o he published his next picture series entitled Blacks. Since
then he has also been working as a movie director. In 1991 he made the
3o-minute-longfilm "Tadzio". RM

Springveld,
Erwin Olaf

1959 Hilversum,

Netherlands

Lives in Amsterdam

Springveld | 639

Springs, Alice

(June Brown)

1923 Melbourne
Lives in Monaco

▼ Alice Springs
Helmut Newton as a
Nun, 1975

Gelatin silver print
7.3 x 1J.7 cm
ML/F 1985/80

Gruber Donation

f*

Alice Springs was an actress when she met Helmut Newton to
she had been recommended as a model. She is a self-taught h" ^
grapher. She ended up as a photographer because she substituted°-
short notice for Newton, who was ill with a cold. Her pictures hi 3
under his name were successful and encouraged her to try her ha d^
this field. She concentrated on portraits and currently works for a '
ber of magazines such as Vanity Fair. Alice Springs does not interfer ^
with her pictures. She allows subjects to be free and she waits for
ments that seem important to her. Because she usually takes portrait
of people in an environment familiar to them, relaxed situations may de
velop, which are of decisive importance to her method. Since 1990 Alice
Springs has been photographing her models with a video camera, which
enables her to review the recorded material at leisure and to printout

those moments that appear im-
portant to her. In so doing, she
is not attempting to cloud her
method, but to utilize the struc-
ture of the video image as a tool
characteristic of her work. RM

► Alice Springs
Untitled (Rear View).

around 1970
Gelatin silver print
29.5 x 20 cm
ML/F 1993/505
Gruber Donation

640 I Springs

Springs | 641

Stankowski,
Anton

1906 Celsenkirchen
Lives in Stuttgart

▼ Anton Stankowski
Self-portrait, 1938

Celatin silver print
23.9 x 26.2 cm
ML/F 1991/109

Between 1921 and 1926 Anton Stankowski apprenticed as a painter
religious motifs, after which he studied under Prof. Max Burchartatrh
Folkwang School of Design in Essen. Between 1929 and 1937 he work A
as a painter and graphic designer at a then famous Zurich advertisin
agency. During that time Stankowski began to experiment in the field
photography. He produced collages and photomontages and was inter
ested in photograms. At the same time he used photography as an es-
sential tool for his graphic designs. In 1937 Stankowski moved to Stutt-
gart. There his design work, which was derived from the fundamental
idea that art and applied art are inseparable, had an influence on the
vision of many companies. In addition, he maintained close connections
with solid artists such as Richard Paul Lohse, Carlo Vivarelli, or Herbert
Mattar. After the war and captivity Stankowski returned to his studio
and, in addition to his design work, acted as chief editor of the Stutt-
garter lllustrierte. Stankowski led the way in many branches of photo-
graphy. In the twenties he already produced photographic series on in-
dustrial landscapes. As far as their stylistic orientation was concerned,

these early photographs were
based on photographic Con-
structivism, yet they already con-
tain the concept of photography
of inanimate objects. In the for-
ties he experimented with heated
gelatin silver layers as did his
contemporary, Chargesheimer,
who developed gelatin silver
painting at that time. In the fifties
he created the first examples of
Op Art, producing them in black
and white and integrating optical
effects which only became effect-
ive when the viewer moved. In
1953 he created his first nudo-
grams. Because they were created
in the context of his professional
work, they especially satisfied
his claim that artistic work and

applied work should not be

I C-, ,-.!,„,, ,h,:

A Anton Stankowski
Nudogram, 1954

Gelatin silver print
59.7x48.3 cm
ML/F 1991/102

Stankowski | 643

A Anton Stankowski
Children's Pavement
Drawing, 1929

Gelatin silver print
23.8 x 30.4 cm
ML/F 1991/107

► Anton Stankowski
Notre Dame. 1930

Gelatin silver print
77.2 x 8.1 cm
ML/F 1991/103

perceived as contradictory but as equivalent. He always combined inno-
vative artistic work with the requirements of advertising and design.
On the one hand he utilized photography in a supportive function for
his design work, but on the other used it as an independent medium
of equal importance. Taking this approach, Stankowski proved to be an
artist who has consistently carried the spirit and tradition of the Bau-
haus and the constructivists forward into the present. RM

644 J Stankowski

Stankowski | 645

Stano, Tono

i960 Zlate Moravce
Lives in Prague

A Tono Stano
Current Relation-
ship. 1988

Gelatin silver print
43-3 * 5'-3 cm
ML/F 1990/1324

Locher Donation

Tono Stano studied at the College of Arts and Crafts in Bratislava and
then pursued photography at the Prague Film Faculty. At this school,
a group of young photographers formed who developed a new type
of staged photography. It included Miro Svolik, Peter Zupnik, Rudo
Prekop, Vasil Stanko, and Martin Strba. Fantastic scenes using models
in a studio are characteristic of their creative work. They exhibit humor,
irony, and hidden metaphors, and frequently refer to mythological
traditions. Many times these works deal with the problem of human re-
lationships and sexuality.

In this group, Stano is the one who minimizes his imagery the
most. He dispenses with narrative moments and concentrates on a .
restrained pictorial language and simple symbols. RM

chri5i ianStaub
arming Up. 1953

x 26.5 cm
F , 993/103

646 J Stano

hristian Staub conducted his first photographic experiments with a
pinhole camera. However, while in Paris between 1938 and 1940, he de-
himself to surrealistic painting. After meeting Andre Lhote he em-
braced Cubism for a while. Upon his return to Switzerland in 1940, he
realized that he could not make a living with his paintings and decided
to study photography under Hans Finsler at the Arts and Crafts School
of Zurich. Between 1943 and 1946 he worked as a freelance photo-
grapher for magazines such as Du and Annabelle. After meeting Willi
Maywald, he was encouraged to try fashion photography and society
portraits. In 1956 he went to New York for the first time. Between
^58 and 1963 he taught at the College of Design in Ulm. Then, between
"■963 and 1966, he lectured in photography at the National Design In-
stitute Ahmadabad in India. In 1966 he taught at the University of Cali-
fornia in Berkeley and since 1967 has been teaching at the University of
Washington in Seattle. Staub, who has always been interested in photo-

Staub, Christian

1918 Menzingen,
near Zug,
Switzerland
Lives in Seattle.
Washington

Staub I 647

Staub

Paris,
Delau-

A Christian Staub
Regensburg, 1962

Celatin silver print
24.4x26.6 cm
ML/F 1993/106

graphic experimentation, has created distortions of architecture and
nudes, worked on sequences and, in his photograph of St. Severin,
alluded to Robert Delaunay and his cubist fragmentation of a space.
Recently he has been using a panoramic camera with a movable lens
to take pictures of spaces, making the viewer feel transported into the
scene. RM

silver print
4 .4 cm

648 I Staub

Staub I 649

Steichen,
Edward

1879 Luxembourg
1973 West Redding,
Connecticut

G «>r g e Frederick

W ° r "< '4. 1906
p hotogra vure

- ? '- 2 "6.5 cm
ML/Fi 995/47

Cruber Donation

► Edward Steichen
Rodin, from: Camera
Work 2, 1903

Photogravure
21.2x16.2 cm
ML/F 1995/38

Gruber Donation

Edward Steichen, who was born in Luxembourg, grew up in the USA
after his family emigrated in 1881. Between 1894 and 1898 he studied
under Richard Lorenz and Robert Schade at the Milwaukee Art Stu-
dents' League and was an apprentice in a lithographic business in Mil-
waukee.

Steichen painted, was interested in photography and, in 1895 began
working in the style of artistic photography. During subsequent years he
successfully participated in photographic exhibitions in America and in
Europe. Despite his early commitment to photography, Steichen con-
tinued to pursue his career as a painter.

In an early self-portrait taken in 1901, Steichen drew attention to hi
double role. Although acting as a photographer, he deliberately took the
pose of a painter. In his eyes, apparently the rich tradition of the
medium of painting was a more suitable medium for depicting a I-
genius than was the medium of photography. Nevertheless, he u
mately decided in favor of photography. In 1923 he broke entire!)

650 I Steichen

Steichen | 651

+ Edward Steicf,-.
?*'■ ***&„*„

Photogravure
'93xi4.9cm
ML / F '995/42
Gruber Donation

*" Edwar <* Steichen
Small Round Mirror,
from: Camera Work
M. 1906

Photogravure
14-2x31.4 cm
ML/F 1995/51

Gruber Donation

his vocation as a painter by single-handedly burning those of his paint-
ings that were in his possession.

In 1902 Steichen became one of the founding members of "Photo
Secession", which was initiated by Alfred Stieglitz in New York. By
spending several years in Paris and by taking extended trips through-
out Europe, Steichen became familiar with local avant-garde art and
arranged exhibitions for artists in the USA, particularly in Stieglitz' fam-
ous Gallery 291 in New York.

652 I Steichen

Steichen | 653

A Edward Steichen
The Brass Bowl, from:
Camera Work 14, 1906

Halftone print
19.3 x 16.3 cm
ML/F 1995/54

Cruber Donation

► Edward Steichen
Eleonora Duse, '903

Photogravure

17.71 13-5 ""

ML/F i994/ 2 9

Cruber Donation

654 I Steichen

Steichen | 655

* Edward steich^

Geof ge Bernard
Shavv, 1907

Photogravure
2 °-3*i6. 3crn
ML / F 1977/802

Cruber Collection

► Edward Steichen

John Pierpont
Morgan, 1903

Silver bromide print
?5 *'9-6 cm
ML /F 1977/789

Gruber Collection

During World War I, Steichen served as a photographer in the Air
Force and in the Marines, an assignment that was to change his photo-
graphic style fundamentally. The precision required by aerial photo-
graphs honed his eye and taught him to appreciate the beauty of non-
manipulated photography.

In 1923 Steichen became the chief photographer at Conde-Nast,
where he was responsible especially for the fashion magazines Vanity
Fair and Vogue until 1938. During these years he advanced to becom
one of the best-paid fashion and portrait photographers of his time.

After World War II, the now 67-year-old photographer embarkec

656 I Steichen

Steichen | 657

658 I Steichen

A Edward Steichen

William M. Chase, from: Camera Work 14, 1906

Photogravure. 20.7* 16.1 cm
ML/F 1995/48

Cruber Donation

A Edward Steichen

The Flatiron Evening, from: Camera Work 14, 1906

Three-color halftone print, 21 x 75.9 cm
ML/F 1995/55

Cruber Donation

Steichen | 659

""wardsteich,
Laughing Boxes
Ne *York, 192 , '

Sil ^ bromide print
*4-4 "9-4 cm
ML / F i977/8o

CriJ ber Collection

► Edward Steichen

George Washington
Bridge, 1931

Gelatin sibcr print

24-T*i9-4cm
ML/F 1988/72

Gruber Donation

on a second career. He became director of the photographic department
of the Museum of Modern Art in New York, organizing numerous ex-
hibitions. His "Family of Man", representing not only a photographic
concept but also a moral ideal, became world famous. This exhibition
was meant to be a "mirror of the essential unity of man worldwide".
MBT

Steichen I 66i

662 I Steichen

A Edward Steichen
Self-portrait, 1929

Gelatin silver print
25.1x20 cm
ML/F 1977/786

Gruber Collection

A Edward Steichen
Charlie Chaplin. 1931

Silver bromide print
25 x ig.8cm
ML/F 1977/790

Gruber Collection

Steichen | 663

A Edward Steichen
Marlene Dietrich, 1935

Silver bromide print
24.} x 19.3 cm
ML/F 1977/791
Cruber Collection

A Edward Steichen
Gloria Swanson, 1926

Silver bromide print
24.2x79.3 cm
ML/F '977/8io

Cruber Collection

Steichen | 665

Steinert, Otto

1915 Saarbrucken
1978 Essen

► Otto Steinert
Dancer's Mask. 1952

Gelatin silver print

ML/F 1977/817
Cruber Collection

666 I Steinert

Otto Steinert, who made history as an outstanding personality of G
man post-war photography, started out wanting to become a physi ^
In 7934 he began to study medicine, graduating in 1939 . After World w'
II he worked as a doctor in residence in Kiel from i 945 to i 947 Sim , r
taneously, however, he taught himself photography, eventually gj""
his profession as a physician to pursue his passion for photography V
i 94 8 he became the director of the photographic class at the State Col"
lege of Arts and Trades in Saarbrucken. There he, Peter Keetman Lud
wig WindstoGer, and others, founded the group "fotoform" in 1949"
which was dedicated to rekindling people's awareness of the photo-
graphic design possibilities and modes of expression of the pre-war
avant-garde, which had been suppressed by the dictatorial cultural pol-
icy of the National Socialists. In ! 951 Steinert organized the first of three
exhibitions whose title "subjective photography" was to become syn-
onymous with a whole new direction in style. In the second catalog of
this small series of exhibitions Steinert explained: "We feel all the more

obligated [...] to encourage all efforts to work actively and creatively on
the synthesis of the creative, contemporary photographic image and to
generate a genuine relationship with photographic image quality." High-
contrast prints, radical cropping, abstract structures, surreal-looking
situations, negative prints, and solarizations became the favorite forms
of expression espoused by Steinert and his students. Their idols were
photographers such as Man Ray and especially Laszlo Moholy-Nagy.

In i 9 5 9 Steinert accepted an invitation to teach at the Folkwang
School of Design in Essen, where he directed the photography work
group until he passed away. During these years Steinert not only acted
as a photographer and teacher, but also assembled an excellent photo-
graphic collection. MBT

A Otto Steinert
Pedestrian's Foot,
1950

Celotin silver print
28.7 x 40 cm
ML/F 1977/818

Cruber Collection

///. p.668:
Otto Steinert
Appeal, 1950

Celotin silver print
39.4 x 28.7 cm
ML/F 1977/819

Cruber Collection

Steinert | 667

,. Curt Stenvert
Ne w Dimensions of
Cosmology or: Out-
side Uke Inside. 1985
College m,xcd medio

ML/F 1995/" 6

Uwe Scheid
Donation

Curt Stenvert studied painting, sculpting, theater and motion picture
sciences in Vienna. Following an initial involvement with German Ex-
pressionism and Futurism, he became co-founder of the Vienna School
of Fantastic Realism. His motion studies, however, concentrated on the
development of a synthesis of Futurism, Constructivism, and Cubism.
After a few years of making films ("The Raven", "Venice"), he turned to
object art in 1962, writing his manifesto on "Functional Art of the 21st
Century". Stenvert was active as an object artist, producing his series
Human Situations as well as photocollages, verse-collages, screened
prints, and watercolor paintings. In the seventies he began to paint
again and developed pictures that implemented his idea of a process
perspective with motion studies and a gold background. RM

Stenvert, Curt

{Curt Steinwendner)

1920 Vienna
1992 Cologne

668 I Steinert

Stenvert | 669

Stern, Bert

1929 New York
Lives in New York

▼ Bert Stern
Eartha Kitt, around
1956

Celotin silver print
2S.1x2y.4cm
ML/F 1977/824

Gruber Collection

Bert Stern is a self-taught photographer. In 1951 he was a cameraman
for the US Army in Japan. Since 1953 he has been working as a fashion
and advertising photographer. He was one of the first to design news-
paper advertisements in color that were difficult to distinguish from
editorial picture pages. His style can be circumscribed with words such
as glamour, romanticism, and delicacy: "If you want to be seduced by
the camera, by a man who can fall in love with any object, go see Bert
Stern", is how a publisher characterized him. His outstanding abilities
in portrait photography were especially noticeable in Louis Armstrong, a
picture taken around 1959 on the occasion of an advertising campaign
for an early Polaroid film. The sharpness of detail and gradation of the
black-and-white tones was perfect to a point that the client considered it
"too good", but still had it printed. But without doubt the most famous
of Stern's photographs are those he took of Marilyn Monroe. They were
shot during her last photographic session for Vogue magazine at a Los
Angeles hotel in June of 1962, six weeks before she died. In the course
of three days Stern shot almost 2700 pictures, including portraits, fash-
ion photographs and nudes, which were published in the 1992 picture
book The Complete Last Sittings and which attest to the unique intimacy
and understanding between model and photographer during that ses-
sion. At that time Vogue pub-
lished a total of eight of the black-
and-white shots. Bert Stern be-
came increasingly successful
during the sixties, but his pho-
tographs of Marilyn Monroe re-
mained very special: "In the
course of the years I noticed that
the pictures we had taken to-
gether now belonged to everyone.
What we created had grown bey-
ond me. Somehow they slipped
away from me and into the
dreams of everyone." AS

A Bert Stern
Louis Armstrong,
around 1959

Celotin silver print

4i-9* 34-5 cm
ML/F 1977/821

Cruber Collection

Stern | 671

Stieglitz, Alfred

1864 Hoboken,
New Jersey
1946 New York

Alfred Stieglitz was the son of a well-to-do German-Jewish family. He
studied engineering and photographic chemistry in Berlin, where he
trained under Hermann Wilhelm Vogel, the inventor of orthochromatic
film.

Initially, he was particularly interested in the functional, scientific as-
pect of his studies of photography. His first works, oriented to conven-
tional photography, were created in 1883 in Berlin. In 1890, at the age of
26, he returned to New York. Because he had quickly reached the tech-
nical limits of photography, Stieglitz began to look for new methods of
exposure and processing. Together with Joseph T. Keiley, he invented
"pure photography", using the gelatin process.

In the 1890s Stieglitz worked in gravure printing and also wrote art-
icles for photographic journals. Photographs of this time, including A
Street in Sterzing, South Tyrol, and Sun Rays, Paula show his intense in-
terest in lighting conditions and their effects, such as light stripes cre-
ated by Venetian blinds as shown in the latter of the aforementioned
photographs. There is also a certain influence of German genre painters
evident in Stieglitz' understanding of imagery.

In 1893 he created his first successful photograph of snow, and
three years later he made his first night-time photograph. Also in 1893
Stieglitz became the publisher of American Amateur Photographer and
in 1897 of Camera Notes.

In 1902 Stieglitz, Edward Steichen, and Alvin Langdon Coburn
founded "Photo Secession" and the journal Camera Work. The title
"Photo Secession" was selected in honor of Symbolism and of the Vi-
enna Secession. The photographers of "Photo Secession", including
Gertrude Kasebier, Clarence H. White, and Frank Eugene, did not so
much see mimetic qualities in photography, but the spiritual expression
of the artist himself. In the aesthetics of his pictures Stieglitz emphas-
ized his own perception, totally independent of any viewing tradition.
Despite the group's goal of artistic aesthetics, Stieglitz' photography re-
mained quite untouched by these ideas. Symbolic titles like The Hand of
Man can still be found here and there, but his main subjects in those
years were the city of New York and the formal, architectural aspects of
its buildings.

In 1905 he opened Gallery 291, which derived its name from its loca-
tion on 291 Fifth Avenue in New York City, where Stieglitz introduced the
European avant-garde to Americans. His newspapers and the presenta

672 I Stieglitz

A Alfred Stieglitz
The Steerage, 1907

Heliogravure
19.7x15.8 cm
ML/F 1982/1

Stieglitz I 673

.4 JLtslL*-.,

A Alfred Stieglitz
The Mauretania. from:
Camera Work 36, 1911

Photogravure
20.C/X 16.3 cm
MljF 1995/59
Cruber Donation

674 J Stieglitz

A Alfred Stieglitz
In the New York Central
Yards, from: Camera
Work 36, 1911

Photogravure
19.4 x 15.9 cm
ML/F 1995/69

Cruber Donation

Stieglitz J 675

■* Alfred Stieglitz
Spring Rain, from;
Camera Work 36,
1911

Photogravure
23 * 9-2 cm
ML/F 1995/71

Gruber Donation

► Alfred Stieglitz
Old and New New
York, from: Camera
Work 36, 1911

Photogravure
20.3x15.8 cm
ML/F 1995/61

Cruber Donation

676 I Stieglitz

Stieglitz I 677

A Alfred Stieglitz
A Dirigible, from:
Camera Work 36,
1911

Photogravure
lj.8x 18 cm
ML/F 1995/63

Gruber Donation

tion of modern European artists in the USA place Stieglitz in the center
of photography and art of the early twenties.

In 1917, the last year Camera Work was published, he met Georgia
O'Keeffe, a photographer and later his life companion, whose pictures
he exhibited in 1926 in his second gallery, the Intimate Gallery. As a
result of numerous photographs he took of Georgia O'Keeffe Stieglitz'
portrait photography set new standards, exhibiting unadulterated direct-
ness and the search for objective truth through "pure photography". As
is obvious from a voluminous exchange of letters, Stieglitz' friendship
with newspaper illustrator Arthur G. Dove was of great importance. In

1929 Stieglitz' second gallery was closed. Soon he opened another one,
"An American Place", which he operated until his died. Regardless of
the fact that he managed his gallery more on idealistic than commercial
lines, Stieglitz saw himself mainly as a photographer who wanted to
convey what he saw- his "idea photography". In 1922 he photographed
a series of clouds at Lake George, which were of an abstract nature. LH

A Alfred Stieglitz
Aeroplane, from:
Camera Work 36,
1911

Photogravure
14.4 x 17.6 cm
ML/F 1995/62

Gruber Donation

678 I Stieglitz

Stieglitz J 679

► Alfred Stieglitz
End of the Line,
from: Camera Work
36, ign

Photogravure
12.2 x 15.9 cm
ML/F 1995/70

Cruber Donation

■* Alfred Stieglitz
Excavating ln New
York, from: Camera
Work 36, i 9 „

Photogravure
'2-7*75.8 cm
ML / Fl 995/6s

Cruber Donation

-* Alfred Stieglitz
At the Pool, from:
Camera Work 36,
1911

Photogravure
12.6x15.9 cm
ML/F 1995/67

Gruber Donation

680 I Stieglitz

Stieglitz I 68i

Stock, Dennis

1928 New York
Lives in the
Provence, France

▼ Dennis Stock
New Orleans, 1961

Gelatin silver print
79.4 x 24 cm
ML/F 1994/298

Gruber Donation

Following a photographic apprenticeship with Cjon Mili (1947-1951)
Dennis Stock worked as a freelance photographer for Life, Paris Match
Look, Ceo, and Queen, among others. He has been a full member of
the "Magnum" photo-agency since 1954. In 1951 Life magazine already
awarded him the first prize for young photographers for his picture
series on refugees from East Germany. From the late fifties into the sev-
enties he worked as a chronicler and portrait photographer of the jazz
scene (picture book.Jozz World, 1959), where he accompanied musi-
cians on all sorts of locations, on the stage, during rehearsal, on the
way home in the early morning after a gig in a club. In addition to his
publications and reports on Italy, Japan, California, and Alaska, he be-
came known for his plant impressions. His encounter with James Dean in

1955 made Stock famous. In 1956
his Portrait of a Young Man, James
Dean, was published. He photo-
graphed him in Hollywood, New
York, and in his home in Indiana.
By taking the picture James Dean
in Times Square, New York City
in 1955, showing the actor with
shoulders raised, hands deep
in his coat pockets, cigarette
dangling from the corner of his
mouth on a street wet from rain,
Stock created an icon that sym-
bolized the cult around the movie
star who died young and who was
the idol of an entire generation.
That picture has been reprinted
on thousands of posters and
postcards, and it remains in
everyone's mind to this day. AS

r Wolf Strache
,| a y Race, 193 6

claim silver print
1x30 cm
*L/F 1988/16

Wolf Strache obtained his doctorate in political science in Cologne and
Munich. After working for just one year for the Ullstein publishing
house in Berlin, he began his career as a freelance photojournalist. His
first picture books were published in 1936. His work as a photographer
and writer was interrupted by World War II, when he had to serve in the
Foreign Office. Later on he was drafted to become a photographic re-
porter for the German air force. His photographic style is strongly based
on the New Vision and its extreme perspectives. Some of his photo-
graphs of the destruction in Germany, such as Berlin, Kurfiirstendamm
After a Major Air Raid, became world famous because of their powerful
symbolism. In 1945 Strache moved to Stuttgart. He published a broad
spectrum of photographic picture books with topics relating to culture,
art history, natural science, and geography. He used different pub-
lishers, but he also published his own series of books The Beautiful Books.
In 1955 he began publishing the annual The German Photograph, which

Strache, Wolf

1910 Greifswald.

Germany

Lives in Stuttgart

682 I Stock

Strache | 683

■* Wolf Strache
Dirt Track Rider, i 9s6

Celatin silver print
38x30cm
ML/F 1988/18

► Wolf Strache
Berlin, Kurfursten-

damm After a Major
Air Raid, 1942

Gelatin silver print
40x30cm
ML/F 1988/17

has been presenting outstanding work by German photographers for 25
years. Today, it is considered one of the most important documents of
recent German photographic history. Between 1971 and 1985 he was the
secretary-treasurer of the Association of Freelance Photo-Designers.
RM

684 I Strache

■* Paul Strand
Still Life, Pear and
Bowls, Twin Lakes,
around 1915

Hondgrovure,
provided fay the
Aperture Foundation
25.6x28.8 cm
ML/F 1994/292

Gruber Donation

► Paul Strand
Abstraction,
Shadows of a
Veranda, Connecti-
cut, 1916

Handgravure,
provided fay the
Aperture Foundation
33. ! x 24.3 cm
ML/F 1994/291

Gruber Donation

Strand, Paul

1890 New York
1976 Orgeval, France

In 1909 Paul Strand completed his studies under Lewis Hine at the
Ethical Cultural School in New York. Hine introduced him to Alfred
Stieglitz, the founder of "Photo Secession" and the publisher of Camera
Work. Strand began producing abstract photographs in 1915. In
1917, the last double-edition of Camera Work was dedicated exclusively
to Strand's photographs. He imparted this medium with a new direc-
tion in style, called "straight photography" ever since. The traditional
orientation to painting was replaced by a self-assured exploration of the
genuinely photographic, where the charm is frequently found in the
mundane, in a structure, or in the shadow of the world of things, in
excerpts and rhythms. Abstraction, Shadows of a Veranda, Connecticut
(1916) is representative of this style. Strand's works cover almost all
subjects, including portraits and documentary pictures, landscapes and
plant photography, architectural themes and photographs of machine:
and industrial sites. AS

686 I Strand

Strand | 687

Strauft, Helfried

1943 Plauen
Lives in Leipzig

► Helfried StrauG
From: Sanssouci, 1982

Gelatin silver print
4$x }Ocrn
ML/F 1991/182

T Helfried Straufi
From: Sanssouci, ic

Gelatin silver print
448 x 30 cm
ML/F 1991/181

Between 1963 and 1965 Helfried Strait studied singing and voice at the
Conservatory in Halle, after which he sang for two years at the theater
of the City of Cottbus. Between 1967 and 1972 he studied photography
at the College of Graphic Design and Book Art in Leipzig. From 1973 to
1976 he was a photojoumalist for Freie Welt in Berlin. Between 1976 and
1979 he completed additional studies at the aforementioned college,
becoming an assistant and, in 1980, its director of the photography
program. He has been a professor there since 1993. Strauf? is a photo-
grapher who has always been meticulous in preparing and carrying out
his projects. He is not only interested in successful individual pictures,
but also in completed self-contained projects. He adopted this method
of working when in the former East Germany it was anything but politic-
ally expedient to do so. He documented religious folk customs of the

Sorbs dating back hundreds of
years, daily life in Moscow, and
the life and work of ferrywoman
Brigitte Hofgen in Grimma, which
he was only able to publish in
book form after German reunifica-
tion. One of his most extensive
projects is the documentation of
parks designed by landscape archi-
tect Peter Joseph Lenne, where
he devotes equal interest to pre-
served, as well as modified or des-
troyed parks. In his view, the his-
tory of the park is as important as
its original design. Another series
deals with the sculptures in Sans-
souci. Here he examined the
relationship of sculptures and
space, and in another series he
approached parts of the sculp-
tures so closely that their surfaces
began to look deceptively like liv-
ing skin. RM

688 I StrauB

StrauR J 689

Strelow,
Liselotte

1908 Redel,
Pomerania
1981 Hamburg

< Liselotte Strelow
Winifried Wagner i n
Front of Her House,
1959

Gelatin silver print
25.5 x 22.3 cm
ML / F '977/829

Cruber Collection

► Liselotte Strelow
Prof. Oskar Fritz
Schuh, around 1958

Gelatin silver print
39-5 * ?9-7 cm
ML/F 1977/827

Gruber Collection

After attending a private school in Neustettin, Liselotte Strelow began to
study agronomy and then, from 1930 to 1932, photography at the Lette-
Verein in Berlin. In 1933 she was an assistant to Sys Byk in Berlin, where
between 1933 and 1938 she was subsequently employed by Kodak AG.
In 1936 she completed her training with a diploma. In 1938 she set up
a studio at Kurfurstendamm in Berlin, later working as a freelancer for
various papers such as the Frankfurter Allgemeine, Die Welt, Der Spiegel,
and Theater der Zeit. Her camera of choice was a Rolleiflex, which influ-
enced her style. In 1943 she moved to Neustettin where she devoted
herself mainly to landscape photography. Between 1945 and 1950 she set
up a studio in Detmold and began to work on theater photography with
Custaf Griindgens at the Dusseldorf Theater. In 1949 she had her first
solo exhibition. One year later Liselotte Strelow moved to Dusseldorf,
from where she traveled extensively. Her work was very successful and
the name "Strelow" became synonymous with fine portrait photography.
She also cultivated the portrait in her theater photography. She made
portraits of socially and culturally prominent people of her time, she
was official photographer at the Wagner Festivals from 1952 to 1962,

690 I Strelow

Strelow I 691

•4 Liselotte Strelow
Alice Bettina
Constance Gruber,
i960

Gelatin silver print
28.2 x 23 cm
ML/F 1993/532

Gruber Donation

and she received numerous awards, including the Cultural Award of the
German Society for Photography (DCPh) and the David Octavius Hill
Medal of the Society of German Photographers (GDL). Between 1959
and 1962 she was the chief photographer at the theaters of the City of
Cologne, and in 1966 received the Adolf Grimme Prize. She lived in
Munich between 1969 and 1976, and in Hamburg from 1977 until she
died after seven cancer operations. RM

p. Carl Striiwe
plant Thorns, 1933

Gelatin silver print
23-8 x 18.4 cm
ML/F 1991/87

Carl Striiwe apprenticed in lithography and studied at the Arts and
Crafts School of Bielefeld. His interest in photography emerged during
that time. At the beginning of the twenties he was employed as a com-
mercial artist at a large graphic arts company in Bielefeld. In the course
of his activities, which included the design of logos, packages, and
posters, he discovered photography as a new medium. Between 1924
and 1952 Striiwe traveled to Italy, the Alps, and Africa. His publication
Hohenstaufen in Italy - Pictures and Words of 1986 goes back to that
time. In 1926 he produced his first micro-photographs, a subject that
continued to fascinate him. After his book Shapes of the Microcosm -
Form and Design of a World of Images first appeared in 1955, his name
was inseparably linked with micro-photography. RM

Striiwe, Carl

1898 Bielefeld
198S Bielefeld

692 J Strelow

Striiwe | 693

694 I Striiwe

A Carl Striiwe
Notched Butterfly Pro-
boscis. Roll-up Mecha-
nism, from the series:
Forms of Structure and
Motion, 1928
Celatin silver print
22.7 x 1 8. $0171
ML/F 1991/83

► Carl Striiwe
Archetype of Adaptation.
Ocean Rhythms in the Struc-
ture of A Sea Algae, from
the series: Original Images,
Symbolic Images. 1930
Celatin silver print
24.5 x 19 cm
ML/F 1991/84

Striiwe | 695

Sudek, Josef

1896 Kolin, Bohemia
1976 Prague

A Josef Sudek
Untitled

(panorama), around
1950

Gelatin silver print
14 x 37.8 cm
ML/F 1993/506

Cruber Donation

Following an apprenticeship as a bookbinder, Josef Sudek served as a
soldier in World War I. In 1916 he was seriously injured in Italy, losing
his right arm. After spending three years in hospitals he decided to
become a photographer. In 1920 he became a member of the Prague
Club for Amateur Photographers, going on to study photography for
two years under Karel Novak at the National School of Graphic Art
in Prague. Together with Jaromir Funke and other photographers he
founded the Czech Photographic Association in 1924. In the twenties he
shot a series of photographs of the reconstruction of St. Vitus Cathedral
(Portfolio Svazy Vit, 1928) which earned him the title of official photo-
grapher of the City of Prague. Until 1936 Sudek was co-publisher and il-
lustrator of the magazines Panorama and Zijeme, at the same time car-
rying out advertising and portrait work in his own studio. Sudek used
an 1894 Kodak panoramic camera (negative format 10 x 30 cm) to pro-
duce an extensive series of views of Prague, which was only published in
1959. Beginning in 1940, he used mostly large-format cameras because
he was fascinated by the possibilities of contact prints. Sudek is con-
sidered a master of the still life and of nature shots. The objects in his
still-life pictures are illuminated with lyrical sensitivity. Diffused daylight,
direct sunlight, or a cloudy sky provide an extremely melancholy, ro-
mantic, and at times sinister atmosphere despite the realistic rendition.
Following a large exhibition in 1974 at the George Eastman House in
Rochester, New York, he was honored two years later on the occasion
of his 80th birthday with retrospectives in Prague and Brno in his home
country. AS

* josef Sudek

Untitled (cherry

blossom), around

194°

Gelatin silver print

29.3 x 22.3 cm

ML/F 1993/507

Gruber Donation

► Josef Sudek
Park and Bridge,
1964

Gelatin silver print
11x17.2 cm
ML/F 1984/117
Gruber Donation

696 I Sudek

Sudek 1 697

Szekessy, Karin

1939 Essen
Lives in Hamburg

▼ Karin Szekessy
Nude with Mask and
Fish, 1973

Celotin silver print
27. gx 22.2 cm
ML/F 1993/508

Cruber Donation

Karin Szekessy grew up in Hertfordshire, England, where she decided to
become a photographer. In 1954 she began to take pictures with her first
Leica. Following high school in Dusseldorf, she studied photography
under Prof. Hans Schreiner in Munich from 1958 to 1960. In 1959 she
gave birth to her son Oliver. Since i960 she has been living in Hamburg
where she works as a freelance photographer and takes portraits of fam-
ous people. Between 1960 and 1963 she collected dolls, which she pho-
tographed, publishing the pictures in different newspapers such as Die
Zeit, Die Welt, und Suddeutsche Zeitung. Between 1962 and 1967 she pro-
duced a series of photographs of Contemporaries. From 1963 until 1967
she worked for Kristall magazine, which published her pictures of poli-
ticians and children in the big city. Between 1967 and 1970 she worked
for Brigitte, Zeitmagazin, Konkret, and Photo and began to photograph
nudes. She developed her very own style with long-legged models pos-
ing in unconventional ways, frequently alluding to historical prototypes

in paintings. In conjunction with
this type of work, a congenial col-
laboration developed with painter
and sculptor Paul Wunderlich,
with whom she published the
book Correspondences in 1976,
which expressed the harmony of
their perceptions. Karin Szekessy
took photographs of Paul Wun-
derlich's paintings and it is dif-
ficult to say who had the greater
influence on whom. In 1971 she
married Paul Wunderlich. From
1970 to 1971 she worked with
Orion Press in Japan and with
twen, Brigitte, Knoll international,
and Zeitmagazin. In 1972 her
daughter Laura was born. During
subsequent years she also photo-
graphed advertising campaigns,
among others for Draenert-M6-
bel, a furniture company, and for
Ergee-Strumpfe, a stocking com-

p. Karin Szekessy

Mask in Easy Chair,

1980

Celatin silver print

23.9x29 cm

ML/F 1994/2 80

Cruber Donation

< Karin Szekessy
Girls and Plants.
1989

Celatin silver print
24.7x37.2 cm
ML/F 1994/281

Cruber Donation

698 I Szekessy

Szekessy | 699

-« Karin Szekessy
Torso (at Studio VII)
'974

Print-out, colorized
2y.1x1g.Qcm
ML/F 1993/511

Cruber Donation

► Karin Szekessy
Dance with Cactus,
1990

Gelatin silver print
30.8x22.3 cm
ML/F 1994/284

Cruber Donation

pany. Her photographs and publications have won many prizes. In the
eighties she took an interest in another topic, over and above her pho-
tography of young women; she took advantage of her travels to Italy,
France, Japan, and the USA to photograph a series of melancholy south-
ern landscapes. RM

700 I Szekessy

Szekessy | 701

< Ulrich Tillmann
The Artist and his
Work, 1989

Gelatin silver print
23.3 x 22.3 cm
ML/F 1994/309

Gruber Donation

Tillmann, Ulrich Tillmann was born in Linnich in 1951. He studied photography at

Ulrich the Technical College of Cologne and art history, theater, motion-picture,

1951 Linnich anc ' television sciences at the University of Cologne. From 1978 to 1985
Lives in Cologne he operated the "Gallery without a Gallerist", an exhibition space for ex-
perimental photography, video art, and film. From 1977 to 1987 he lec-
tured at universities in Cologne, Wuppertal, and Diisseldorf. Since 1986
he has been employed at the Agfa Foto-Historama in Cologne.

Vollmer, Between 1978 and 1984 Wolfgang Vollmer studied liberal arts and art-
Wolfgang istic photography under Arno Jansen at the Technical College of Col-

1952 Marburg ogne. Between 1982 and 1985 he operated the "Gallery without a Gal-
Lives in cologne lerist" together with Ulrich Tillmann. In 1985 Vollmer began lecturing

at various German universities. Since 1994 he has been teaching in
the department of design of the Technical College of Wurzburg.

Tillman and Vollmer worked very closely together in the mid-
eighties. In 1984 they created the cycle Masterpieces of Photographic
Art, which proved that some of the most famous pictures in the
history of photography, such as Irving Penn's portraits of Pablo
Picasso, can be attributed to unknown, only recently discovered
predecessors. RM

A N.N. Pablo
Gruber, from:
Masterpieces of
Photographic Art,
Tillmann and
Vollmer Collection,
1984

Gelatin silver print
30 x 30 cm
ML/F 1993/539
Gruber Donation

702 I Tillmann and Vollmer

Tillmann and Vollmer | 703

A Mariana Swanson. 1987, from:
Masterpieces of Photographic Art,
Tillmann and Vollmer Collection

Celotin silver print, 32. 6 x 27.3 cm
ML/F 1994/308

Gruber Donation

>■ Paul Outerbridge (attributed to), Woman
with Kitchen Gloves and Trap-the-Cap Caps,
from: Masterpieces of Photographic Art,
Tillmann and Vollmer Collection. 1987

Color print, 40.1 x 29.9 cm
ML/F 1994/302

Gruber Donation

704 J Tillmann and Vollmer

itfU--"~ — r /-». vtt-.avt-^.'rf^

Tillmann and Vollmer | 705

Tourdjman,
Georges

1935 Casablanca,

Morocco

Lives in Boulogne

▼ Georges
Tourdjman
Alexey Brodovitch,
1964

Gelatin silver print
37.5 x247 cm
ML/F 1988/68

Cruber Donation

Beginning in 1956, Georges Tourdjman was an assistant producer. In
1963 he moved to New York to study photography. His teachers Ike
Weegler and especially Alexey Brodovitch had a decisive influence of
Tourdjman's subsequent career. In 1964 this Moroccan photographer
went to Paris to freelance, and during the following years obtained ad-
vertising contracts with Chanel, Dior, L'Oreal, Air France Maroc and sev-
eral French automobile companies. Tourdjman designed many cover
pages for international magazines such as Marie-France, Queen, Kodak
International Photography, and Stern, and he was responsible for over
50 advertising movie spots. His portrait photographs of the eighties de-
picting major artists and photographers such as Man Ray, Robert Dois-
neau and his teacher Brodovitch share a remarkable intensity of expres-
sion, obtained on the one hand by a frontal, direct look at the viewer

and on the other hand by a cer-
tain intimate ambiance. For ex-
ample, by contrasting the painted
portrait and the persons, he has
imparted the double portrait of
the Prevert brothers with a certain
clownish aura. This creates a
teasing picture-within-a-picture
confusion, because the painting
almost emphasizes the charac-
ters more than the realistic pho-
tograph does. In other black-and-
white work the photographer em-
phasizes cropping, diagonals,
and effects like reflections on a
table or in the lenses of specta-
cles. Tourdjman has conducted
several workshops in Aries, on
portraits in 1976 and on nudes
and portraits in 1984. These were
followed by several solo exhibi-
tions in Paris, Aries, and Bor-
deaux. Tourdjman lives and works
in France. LH

706 I Tourdjman

► Judith Turner
Untitled. 1984

Color print
30.4x20.2 cm
ML/F 1986/168

Judith Turner graduated with a Bachelor of Fine Arts from Boston Uni-
versity. She has been interested in photography since 1972, concentrat-
ing largely on architectural photography. She has worked for numerous
newspapers and magazines in Europe and in America. Her first publica-
tion was entitled Five Architects, and it brought her instant international
fame. Other exhibitions followed at the Tel Aviv Museum, the Interna-
tional Center of Photography in New York, and at Princeton University in
New Jersey. Judith Turner works in black and white as well as in color,
valuing pure, clear colors. She is considered to be one of the best archi-
tectural photographers in the USA. RM

Turner, Judith

Born in Atlantic City
Lives in New York

Turner | 707

Ueda, Shoji

1913 Sakaiminato,
Japan
Lives in
Sakaiminato-shi

A Shoji Ueda
Silhouette Pro-
cession, 1978

Color print, satiny
23.8x36.2 cm
ML/F 1984/121

Gruber Donation

Shoji Ueda completed his formal training under Toyo Kikuchi at the Ori-
ental School of Photography. Ueda opened his first studio in his home
town in 1933. Ueda points out that, because in Japan photography is not
held in the same high esteem as painting, he fostered the new age with
a cosmopolitan way of thinking. He is frequently called a "poet of im-
ages". Ueda's main subjects are people set in landscapes, such as the
sand dunes of the Samin region. The staged character of his pictures is
conspicuous in his publication Dunes of 1978, and also in Children the
Year Round. A person, be it in the form of a rear view of a nude, a man
with a bowler hat, or a child, is the extraneous object in the dunes with
an infinite expanse of sky. Frequently the horizon provides the only
boundary, and spatial concepts are often suspended. Ueda plays with
artificial perspective tricks in nature. Clothes hangers, carpets, and
bowler hat, are often used to confuse perspective viewing.

Since 1975, Ueda has been a professor at the Kyushyn Sangyo Uni-
versity in Sakaiminato-shi. LH

708 I Ueda

>• Umbo

Sinister Street, 1928

Gelatin silver print
2g.8x22.8cm
ML/F 1981/574

From 1921 to 1923 Umbo studied at the Bauhaus in Weimar. In 1926 he
produced photomontages for Walter Ruttmann's film "Berlin". He made
the acquaintance of Paul Citroen, the painter, who introduced him to
photography. The actress Ruth Landshoff became his preferred model
for his innovative portraits, a combination of the broad view of the mo-
tion picture and the classical portrait. He adopted the pseudonym
Umbo, and his pictures of large cities, portraits and photograms earned
him international acclaim as one of the leading German avant-garde
artists of the twenties. His style influenced the photojournalism of "De-
phot" (German Picture Agency). During the time of the National Social-
ist regime he joined the resistance movement, and his agency was
closed. During World War II Umbo lost his entire archive, and his signi-
ficance went unrecognized until he was finally rediscovered in 1978 as
a pioneer of modern art. RM

Umbo

(Otto Maximilian
Umbehr)

1902 DCisseldorf
1980 Hanover

Umbo I 709

Vogt, Christian

1946 Basel
Lives in Basel

▼ Christian Vogt
Stone. Presentation
- Series, 1974

Gelatin silver print,
toned blue, with mat
18.3 x 12 cm
ML/F 1977/834
Gruber Collection

After completing his training as a photographer at the Crafts School
in Basel, Christian Vogt traveled and worked as an assistant in Will
McBride's studio in Munich. Since 1970 Vogt has been working suc-
cessfully out of his own studio in Basel, serving advertising clients
and magazines such as Du, Camera, Photo, Playboy, Time-Life, etc. He
has received numerous prizes and awards, including the photokina
Prize in Cologne in 1972, the Grand Prix of the Phototriennale Fribourg
in Switzerland 1975, and the Prize of the Art Directors' Club of Germany
in 1978.

Parallel to his work in commercial photography, Vogt also pursues
his personal artistic interests in photography. In 1972 he had his first
solo exhibition in Basel, and in 1980 he published the photographic vol-
ume Christian Vogt, Photographs, which was followed in 1982 by In Cam-
era, Eighty-Two Photographs with
Fifty-Two Women. He prefers the
implementation of a pictorial con-
cept in large cycles. In the seven-
ties, for example, he created the
series Images of Clouds, with dis-
tinctly surrealist overtones remin-
iscent of Rene Magritte, and a
Red Series, Blue Series, and Yellow
Series. Of particular importance
among his works has been the
Frame series, in which he used
a photographed frame to define
and change the cropping of the
picture. With these pictures he
connected with the conceptual art
of those years, but also related to
Land Art and its methodology of
surveying and archiving certain

► Christian Vogt
Nina, 1985
Gelatin silver print
33.5x26.4 cm
ML/F 1988/77
Gruber Donation

710 I Vogt

Vogt I 711

*► Christian Vogt
Portraits, Duane
Michals l-lll, 1976

Gelatin silver print
each 14 x 21 cm
ML/F 1985/111-113

Cruber Donation

positions in a landscape. The Frame series was meant to illustrate the
fact that an event is the result of certain conditions, which themselves
make these circumstances transparent in the picture. In addition, this
series demonstrated the extent to which a change in these parameters
caused a change in the image.

In his nude photography, which was temporarily pre-eminent during
the eighties, he preferred a subtle approach to the subject, which was
sometimes created in dialog with the women. For the project In Camera
he asked over 50 women to come to his studio, inviting them to select
their own poses in front of a curved, colored background. The only con-
dition was that an open wooden crate had to appear in the picture. This
resulted in very aesthetic, intimate, humorous, and narrative photo-
graphs. AS

712 I Vogt

Vogt I 713

Vormwald,
Gerhard

1948 Heidelberg
Lives in Paris

▼ Gerhard
Vormwald

Maren - Nude, 1989

Gelatin silver print
32.2x4s.scm
ML/F 1995/80

Gruber Donation

Between 1966 and 1971 Gerhard Vormwald studied commercial art and
liberal arts at the Applied Arts School in Mannheim. In 1970 he began
working as a stage photographer for the National Theater of Mannheim.
In addition, he accepted advertising assignments and created photo-
graphic illustrations for magazines. In 1975 he created his first photo-
graphic productions. In 1983 he moved to Paris, where he established
himself as photographer for advertising, magazines and cover pages.
Vormwald earned the reputation of a pioneer of staged advertising pho-
tography inspired by surreal ideas. The particular attraction of his pho-
tographic interpretation was that the physically impossible appeared
real in the picture. Vormwald's photographic worlds of photographic
images could be considered precursors of computer-generated virtual
worlds of images. His flying African, who made every viewer wonder
how something like this was possible, became the symbol of this de-
velopment and was published as such all over the world. But Gerhard
Vormwald also increasingly showed his humorous side, as detnon-

714 J Vormwald

strated by his photograph of several gentlemen lined up to be measured
with a surveyor's staff. In the nineties he distanced himself from pro-
ducing virtual worlds and turned to a rather obvious form of artifice.
Countering the trend that he himself had launched and that was now
booming by way of the computer, he began to be interested in pictorial
arrangements more reminiscent of a world of Arcimboldo. He used
everyday objects, kitchen utensils, rubbish, flowers and food to cobble
assemblages, fantasy arrangements that quite obviously are not what
they pretend to be, but which assert themselves as ironic statements
about that comical world. These photographs too, attest to humor and
to obvious fun with surprising and amusing picture ideas, and they are
evidence of a fantasy world in which utilitarian thinking is eccentric. He
produced these new Cibachrome prints at his own initiative. In 1989
Vormwald opened a studio in the country, devoting himself more and
more to his own ideas. RM

<A Gerhard
Vormwald
St. Oskar the
Gourmet, 1992

Color print
53.7x41.8 cm
ML/F 1995/82

Gruber Donation

A Gerhard
Vormwald
Mykons. Paris, 1992

Color print
S3.6x43cm
ML/F 1995/83

Gruber Donation

Vormwald | 715

Walther, Pan

1921 Dresden
1987 Bangkok

▼ Pan Walther
The German Michel,
from the series:
Think About It, 1983

Color print
29.8 x 30 cm
ML/F 1991/110

Pan Walther became aware of photography through his father. After at-
tending the Waldorf School he studied photography in The Hague and
in Dresden, where he founded a studio in 1945. After obtaining his
diploma as a master photographer in 1946, he worked as a freelance
photographer concentrating on portraits, first in Dresden and then, be-
ginning in 1950, in Miinster. In addition, he taught for more than 30
years at various colleges, both in Cologne and, since 1963, in Dort-
mund. There, with single-minded determination, he succeeded in con-
solidating his own photography classes into an autonomous depart-
ment with the name "Subject Group Photo-Film-Design", and he soon
gave it its own individual profile. His portraits, heads precisely modeled
in light, have been regarded as classics for many years. Walther loved
dramatic light that brings his faces out of the dark. In addition to people
prominent in politics, literature, the arts, and theater, he devoted equal
enthusiasm to unknown people he encountered and whose faces he
found fascinating. During his many journeys he often had an opportun-
ity encounter peasants, workmen and gypsies whose faces had been
etched by the rigors of life and labor.

In addition to this classic theme, Walther developed several se-
quences of staged photography in the latter works of his life which dealt
with the problems of present-day life. These picture series were pro-
duced in color and in the manner
of photographic performance art.
For example, an ode to human
stupidity he presented like a fight
against a windmill in the form of
a Japanese swordfighter holding a
club and wrapped in toilet paper
and entitled Think About It, or the
ecological wave which he satirizes
in the form of a green catalyst in
the thicket of his overgrown gar-
den. Finally, he also addressed
the nuclear threat, posing in a
rubber suit and gas mask. These
later works again demonstrate
Walther's fundamentally rebel-
lious attitude and his conviction

of the unity of art and life. Being a pugnacious contemporary, he was al-
ways able to earn his colleagues' respect at all times, and he succeeded
in producing convincing work and in creating surprises. RM

A Pan Walther
Fighter in the Japan-
Look, from the se-
ries: Think About It,
1983

Color print
28 x 30.2 cm
ML/F 1991/111

716 I Walther

Walther | 717

Warhol, Andy

1928 Pittsburgh
1987 New York

A Andy Warhol
Three Portraits of
Peter Ludwig, 1980

Color print

each 72. 9 x J2. 9 cm

ML/Fi98o/i375

Ludwig Collection

Andy Warhol, the son of Czech immigrants, studied at the Carnegie In-
stitute of Technology in Pittsburgh from 1945 to 1949 and started out as
a graphic artist in advertising. In 1960 he decided to become an artist
and began by painting comic strip figures. His love of money and fame
motivated him to search for themes that were as banal as they were
provocative: money bills, soup cans, catastrophes, criminals, and stars
such as Marilyn Monroe, Elvis Presley, and Robert Rauschenberg. His
connections, such as his friendship with Henry Celdzahler, who at that
time was a curator at the Metropolitan Museum of Art, helped Warhol
to achieve his dream of world fame. In his studio, called "The Factory",
he produced screen prints almost in assembly-line fashion. He pro-
moted the ideal of being a machine and of producing art that is equi-
valent to money - ideally one would convert money into art. In his art,
Warhol concentrated completely on the world of consumers and thus
became the star and protagonist of American Pop Art. While he was
active in the field of painting, screen-printing, and sculpture, Warhol
also constantly took photographs. His book Andy Warhol's Exposures,
published in 1980, containing his casual portraits of the New York
art scene, caused a scandal. Warhol provided an insight into the private
life of high society in a provokingly artless manner, popping flash pictures
of the goings-on with a cheap camera. Shortly thereafter, his patched-
together architectural shots appeared, and they were no less of a surprise.
The triple portrait of Peter Ludwig is one of the photographic variants of
Warhol's large-format work in the possession of that collector. RM

718 I Warhol

I

After completing high school, Jurgen Wassmuth began an apprentice-
ship in industrial administration, after which he studied economics in
Mannheim. In 1981 he decided to change to photography and began to
study under professor Ulrich Mack at the Technical College of Dort-
mund. In 1982 he married Annette Hitzegrath, and his daughter Anna
was born in 1984. Since 1985 Wassmuth has been a graduate photo-
graphic designer and freelance photographer for architectural and in-
dustrial photography. He has had a studio in Dortmund since 1987. He
is a lecturer at the Parsons School of Design in New York and in Paris.
In the eighties he undertook numerous study tours of France, Denmark,
Poland and Greece, and he also organized the international FOCUS
workshop in New York and in Dortmund. In 1988, while on a two-month
study tour in New York, Wassmuth produced a comprehensive series of
pictures on the architecture of this city. He repeatedly succeeded in pre-
senting entirely new perspectives of buildings that were otherwise famil-
iar from countless conventional pictures. He has been lecturing at the
Technical College of Dortmund since 1989. RM

Wassmuth,
Jurgen

1955 Balve, Germany
Lives in Dortmund

A Jurgen Wassmuth
Flatiron Building,
New York, 1988

Gelatin silver print
30.7 x 40.3 cm
ML/F 1993/553

Cruber Donation

Wassmuth | 719

Webster,
Christine

1958 Pukekohe,
New Zealand
Lives in Dunedin
and Paris

▼ Christine Webster
Post Crucifixion,
1988

Cibachrome print
756.3 x 95 cm and
25. i x 25 cm
ML/F 1989/180 l-ll

Between 1976 and 1979 Christine Webster studied at Massey and Vic-
toria Universities, as well as at Wellington Polytechnic. In 1982, 1984,
and 1988 she was the recipient of the Queen Elizabeth II Arts Council
Grant and in 1989 received a scholarship through Agfa Hong Kong.
Christine Webster's large-format works deal with myths and traditions
that have defined the image of women and the relationship of the sexes
through history. By setting picture and word ambiguously opposite each
other, she alludes to handed-down meanings while at the same time
questioning them in order to suggest new meanings. In so doing, she
consciously establishes references to the traditional Tableau Vivant in
Victorian salons. She herself arrived at these scenes at Victoria Univer-
sity while studying theater and began to take pictures of her fellow stu-
dents on the stage. In her current work she deliberately plays with the
idea of a voyeuristic look and erotic imagery in order to arouse interest
and simultaneously to pose a critical challenge.
Christine Webster considers herself an artist who for-
mulates the feminine viewpoint of sexuality and rela-
tionship between the sexes. Despite the complexity
of its content, Christine Webster's work concentrates
on formal execution and perception, limiting itself to
what is essential. Text and picture are separate, and
people, glowing reddish yellow, emerge from the
darkness of the black background. Initially she
served as her own model, but today she works more
and more with partners. While it may appear un-
usual for an artist from New Zealand to address
European myths and traditions, the discussion of
the role of women in society is a topic discussed in
all cultures. Christine Webster's art, which has also
been successful in Western Europe, has quickly
brought her into contract with the international art
world. RM

nA\/fF

RTRT)

A Christine Webster
Game Bird, 1987

Cibachrome print
each 154 x 85.7 cm
and 25 x 85.7 cm
ML/F 1987/155 I— IV

POST CRUCIFIXION

720 I Webster

Webster | 721

Weegee

(Arthur H. Fellig)

1899 Zloczwe
1968 New York

▼ Weegee

Nikita Khrushchev,

'959

Gelatin silver print
22.7 x 79 cm
ML/F 1977/845
Cruber Collection

"WEEGEE... I have never met a better name or a better photographer."
This is how famous American sensationalist photographer Arthur H.
Fellig, called Weegee, saw himself. In 1910 he and his family emigrated
from Austria to New York, where he grew up in poor conditions on the
Lower East Side. In 1914 he quit school prematurely in order to help sup-
port his family. He held jobs as a candy salesman and street photo-
grapher, finally becoming an assistant to a photographic dealer. After
he left his family at the age of 18, he took occasional jobs at train sta-
tions and shelters for the homeless until he found a job taking passport
pictures. At 24 he went to "Acme Newspictures", a photo-agency for
newspapers. There, he worked predominantly as a laboratory technician
in the darkroom and occasionally helped to take pictures of fires at night
and of other catastrophes.

In 1935 Weegee started working as a freelance photojournalism With
absolute obsession he chased sensational events such as traffic acci-
dents, violent crimes, and catastrophic fires. He sent these pictures to
the tabloid press. "Photos by Weegee, the famous", read the self-as-
sured stamp on the reverse side of his press photographs. Because of

friendly contacts he had with po-
licemen of the Manhattan Police
Headquarters, Weegee was in-
formed of all crimes and acci-
dents as quickly as the policemen
themselves. In 1938 he even re-
ceived official permission to in-
stall a police radio in his car. This
unusual privilege frequently en-
abled him to be first at the scene
and, no less important for the
tabloid press, he could be the first
to submit photographs to his ed-
itor. This collaboration with the
Manhattan Police Headquarters
lasted for about ten years. During
that time he produced over 5000
photographic reports - according
to Weegee's own estimates - mak-
ing him the most famous picture

722 I Weegee

A Weegee

A Drunk in the
Bowery, around 1950

Gelatin silver print
24 x ig.jcm
ML/F 1977/838

Gruber Collection

chronicler of New York at that time. In his photographs he captured
traces of the Great Depression with anguishing directness. To this day,
his work constitutes an impressive documentation of life in modern
large cities marked by violence, brutality, and mercilessness. As a bal-
ance to this miserable side of life, Weegee began taking pictures of High
Society in 1938. These photographs reflect a sarcastic opinion of the
rich, decadent stratum of society.

The intensity radiated by Weegee's photographs is also based on
a crassly realistic style, paired with a tendency toward expressionistic
staging. He liked to use strong flashlight, producing dramatic effects of
light and shadow and harsh black-and-white contrasts. Whether these
effects are the result of the requirements of the tabloid press or whether
he exercised his artistic creativity is not important. The fact is that today
his work is justifiably valued for its stylistic uniqueness, making this
photographer's work a milestone of photojournalism.

724 I Weegee

A Weegee

Policeman with Dog,
1950

Gelatin silver print
23 x 18.9 cm
ML/F 1977/846

Gruber Collection

Weegee | 725

A Weegee
Onlookers, 1936

Gelatin silver print
30 x 2y.$ cm
ML/F 1977/836

Gruber Collection

726 I Weegee

1961 he published his autobiography, Weegee by Weegee, in which he
summarized: "I had taken famous pictures of an infamous decade [...]
I had photographed the soul of the city that I knew inside out and that
I loved." MBT

A Weegee

Coney Island Crowd,

1940

Celotin silver print
19.1 x 23.5 cm
ML/F 1977/839
Gruber Collection

In 1947 Weegee moved to Hollywood, where his first book, Naked
City (1945), was made into a motion picture. He remained in this center
of the motion-picture industry, working as technician and actor in small
parts. During that time he collected material for his new book Naked
Hollywood. In 1952 he returned to New York and produced mainly carica-
tures of personalities in politics and society. To accomplish this, Weegee
developed a kaleidoscope for his camera, calling it a "Weegeescope". In

Weegee | 727

A Weegee
Simply Add Boiling
Water, around 1950

Celotin silver print
21.4 x 17.5 cm
ML/F 1977/834

Gruber Collection

728 I Weegee

A Weegee

The Human Cannon-
ball. 1952

Gelatin silver print
23.9 x 19.7 cm
ML/F 1977/844
Cruber Collection

Weegee | 729

Weston,
Edward

1886 Highland Park,

Illinois

1958 Wildcat Hill

A Edward Weston
Nude, 1936

Gelatin silver print
79.1 x 24.1 cm
ML/F 1977/855

Gruber Collection

730 I Weston

The photographer Edward Weston is considered to be a pioneer and
one of the most consistent representatives of American Straight pho-
tography".

His career in photography began in 1902, when he received a cam-
era as a gift from his father and began to take a passionate and commit-
ted interest in the possibilities of this medium. At first he taught himself
and started traveling as a portrait photographer. In 1908 he attended the
Illinois College of Photography and then went to Los Angeles, where he
worked as a retoucher and a laboratory assistant in a photographic stu-
dio.

In ign he opened his own studio in Tropoico (now Clendale), Cali-
fornia. Here, as earlier, Weston worked mainly with the soft-focus lens in
the style of painterly Pictoralism. During subsequent years he earned
the reputation of a successful, respected photographer who was hon-
ored with numerous prizes and exhibitions. Between 1921 and 1922 a

A Edward Weston
Nude, 1936

Gelatin silver print
24.S x T9-3 cm
ML/F 1977/850

Gruber Collection

Weston I 731

■4 Edward Weston
Nude, 1934

Gelatin silver print
9.2 x n.8 cm
ML/F 1988/51

Cruber Donation

►• Edward Weston
Willie, 1941

Gelatin silver print
24.} x 19.2 cm
ML/F 1988/51

G ruber Donation

change began to take place in Weston's photographic work. He began
to enjoy experimenting, seeking abstract motives, unusual viewing
angles and lighting conditions. He photographed fragments of faces
and nudes, and began to use soft-focus techniques instead of sharply
focusing lenses. In 1922, during a visit to his sister May in Middletown,
Ohio, he took his first industrial photographs of the Armco Steelworks.
These photographs mark the actual turning point of his career.

From now on Weston produced only precise, detailed, and ex-
tremely sharp photographs. His change of style was enhanced by his
acquaintance with photographers Alfred Stieglitz, Charles Sheeler,
and Paul Strand, whom he met during that same year in New York.

In 1923 Weston left his family and moved to New Mexico with his
son Chandler and Tina Modotti, a young Italian woman who was his
model, his pupil, and later his lover. Together, the three kept a studio
until 1926. Weston established contacts with Mexican intellectuals and
artists, including Diego Rivera, Frida Kahlo, and others. Weston special-
ized not only in portraits but also in nudes and still-life pictures, and
from 1924 to 1925 he also devoted himself intensely to close-ups. These
particular photographs demonstrate this photographer's extraordinary
sense for the texture of surfaces, which he depicted with an exquisite

732 I Weston

Weston I 733

A Edward Weston
In Hornitos,
California, 1940

Gelatin silver print
79.4 x 24.3 cm
ML/F 1977/858

Cruber Collection

richness of nuances in black-and-white tones on his photographic pa-
per, giving them an almost tactile quality.

"Presentation instead of interpretation" was one of Weston's much-
quoted mottoes. To him, presentation meant the attempt to illustrate
"things per se", to show their essence. About his photograph of a head
of cabbage he wrote in 1933: "In the cabbage I sense the entire secret of
life's force; I am baffled, emotionally excited, and, because of my way of
presenting, I can communicate to others why the shape of the cabbage
is this way and no other, and what its relationship is to all other forms."
Even though Weston explained realism, presentation, and not inter-
pretation, as being of artistic concern to him, it is his rigorously de-
signed compositions of nature and of natural objects that frequently im-
press viewers, because they evoke absolutely ambivalent interpretations
and associations of forms.

In 1932 Weston, Ansel Adams, Imogen Cunningham, and others

734 I Weston

4f *fw*&^hr ---•-*?

'f>

founded the group "f-64", which was to evolve into an important forum
of "straight photography". In 1937 Weston received a grant from the
John Simon Guggenheim Memorial Foundation, becoming the very
first photographer to receive this honor. This grant allowed him to
travel through California and its neighboring states for two years.

In the mid-forties he became ill with Parkinson's disease, which
forced him to give up photography in 1948. MBT

A Edward Weston
Solano Country,
California, 1937

Gelatin silver print
■\<).i x 24.4 cm
ML/F 1977/853
Cruber Collection

Weston I 735

< Edward Weston
Pelican, 1942

Gelatin silver print
J9.2 x 24.1 cm
ML/F 1977/854

Gruber Collection

► Edward Weston
Cabbage Leaf, 1931

Gelatin silver print
19.3 x 24.8 cm
ML/F 1977/856

Gruber Collection

736 I Weston

► Edward Weston
Armco Steel, Ohio,
1922

Gelatin silver print
23.5 x 17.1 cm
ML/F 1977/857

Gruber Collection

Weston I 737

738 | Weston

A Edward Weston
Rock. Point Lobos, 1930

Ceiatin silver print, glossy
24 x 79.2 cm
ML/F 1977/862
Gruber Collection

A Edward Weston
Pepper, 1930

Ceiatin silver print
24 x 19.2 cm
ML/F 1977/864
Gruber Collection

Weston I 739

Wilp, Charles

1934 Berlin

Lives in Dusseldorf

T Charles Wilp
Untitled (Rear View
of Nude), 1972

Gelatin silver print
29.5 x39 cm
ML/F 1993/557

Cruber Donation

In 1950 Charles Wilp began to study psychology, journalism, and music,
training also as a photographer and movie maker. In 1953 he worked on
the Brasilia project with the architect Oscar Niemeyer in Rio de Janeiro.
One year later his first "Photos of Emptiness" were created during his
collaboration with Yves Klein and jean Tinguely. In 1958 Wilp joined the
group of artists "New Realism" as a movie maker. In 1959 his "Photos
of Emptiness" were exhibited together with works by Klein, Tinguely,
Arman, Jesus Raphael Soto, and Franco Fontana. While collaborating
with this group of artists, Arman created the Portrait of Charles Wilp in
1961. Between 1962 and 1964 Wilp made several movies about projects
by Christo, Tinguely, Arman, and Fontana. In 1965 he began making ad-
vertising photographs, in which he incorporated the aesthetics of Pop
Art. Wilp received several international awards for his Volkswagen ad-
vertisements. His advertising campaign for Afri-Cola was particularly
successful. The novel aesthetics of advertising that he developed con-
sisted mainly of the merging of
erotic and psychedelic image
effects. In 1970 he received the
assignment to create a pop por-
trait of Chancellor Willy Brandt's
cabinet. In 1972 he had a one-
man exhibition at "documenta V"
entitled "Consumer Realism". He
designed the stage props and
wrote the music for the "Con-
sumer's Opera" during the XX
Olympic Games in Munich in
1972. During subsequent years
he also concentrated on political
portraits. Since the mid-eighties
Wilp has been working as "Artro-
naut" on projects in which he ex-
presses space travel and high
technology in the artistic mode.
TvT

740 I Wilp

In Dorothee von Windheim's work, photography often plays the part of
notes made with pictures instead of writing, similar to protocols or ent-
ries in a journal, telling of the processes in which her works of art are
formed, developed, and changed. Dorothee von Windheim studied un-
der Dietrich Helms and Cotthard Graubner (1965-1971) at the College
of Creative Arts in Hamburg. With a grant she received from the Ger-
man Academic Foreign Service, she went to Florence and apprenticed
with a restorer. She has been professor at Kassel Polytechnic since 1989.
Towards the end of the sixties she began working with life-size images
of figures on pieces of cloth. These ghostly silhouettes of bodies were
created with techniques such as etching, burning, rubbing, or burying,
and they are suggestive of mythological, psychological, and religious
themes (like the famous "Turin Shroud"). Other projects are Strappo,
pieces of cloth with stucco removed from a wall; Tree Cloths, in which
the trunk of a tree is wrapped in cloth and the pattern of the bark is then
transferred to the cloth by the rubbing technique; and Wine Cloths,
sheets that are stretched in vineyards to protect the vines from birds.
Dorothee von Windheim has participated in numerous important ex-
hibitions, including "documenta VI" in Kassel in 1977, Women Artists
of the 20th Century in Wiesbaden in 1990, and the Biennale in Venice in
1995. A major solo exhibition was organized by the Wiesbaden Museum
in 1989. AS

Windheim,
Dorothee von

1945 Volmersdingen,

near Minden.

Germany

Lives in Cologne

A Dorothee
von Windheim
One of the Eleven
Thousand Pairs of
Eyes from among
the Followers of
St. Ursula, 1984

Photographic
emulsion on gauze
between two plates
of glass
9 x 21 cm
ML/F 1986/217

Windheim | 741

jj+ysi>

Winquist, Rolf

1910 Gothenburg,

Sweden

196S Stockholm

A RolfWinquist
Dancer in Medea,
around 1957

Gelatin silver print
29.4 x 23.3 cm
ML/F 1977/874

Cruber Donation

A* RolfWinquist

Dancer Gertrud Frith
in Medea, around
1957

Gelatin silver print
28.7 x 22.6 cm
ML/F 1977/873
Gruber Donation

RolfWinquist studied photography under David Sorbon in his home-
town of Gothenburg. In 1939 he was hired as an assistant by the Ake-
Lange Studio in Stockholm, in the same year he became the chief pho-
tographer of the Atelje Uggla in Stockholm. Under his direction that stu-
dio became one of the best known addresses in Sweden. Winquist was
a portrait, advertising, and fashion photographer. His early portraits
showed the influence of English and German photographers, whereas
his later work featured sensual studies of women reminiscent of Amer-
ican fashion journals and Hollywood glamour shots. Distanced on the
one hand, and sensitive on the other, his photography appears to place
more emphasis on a physical impression than on an intellectual back-
ground. This is apparent in his portraits of women and children. Win-
quist photographed famous Swedish people and, during his spare time
acted as an amateur, photographing people in the street. He published
articles in various newspapers under the titles "Bildmassig fotografi" in
1947 and "Engelska Bilder" in 1959. He managed the Atelje Uggla until
he passed away in 1968. LH

742 I Winquist

► Joel Peter Witkin
Courbet in Rejlan-
der's Pool, 1985

Gelatin silver print
38.2x37.9 cm
ML/F 1995/129

Uwe Scheid

Donation

At first, Joel Peter Witkin worked as a technician in a studio producing
dye transfer prints and then as an assistant in two photographic stu-
dios. After that he worked as a military photographer. In 1967 he began
to freelance, becoming the official photographer for City Walls Inc. in
New York. Later on he studied at the Cooper Union School of Fine Arts
in New York, where he obtained his Bachelor of Arts degree in 1974.
After receiving a scholarship for poetry at Columbia University in New
York, he completed his studies at the University of New Mexico at Albu-
querque with a Master of Fine Arts degree, and he currently teaches
photography at that school. In the eighties, Witkin shocked the public
with photographs of misshapen people, of parts of corpses, and by
staging events of church history, frequently citing known masterpieces
in a morbid way. Many of his works are reminiscent of Hieronymus
Bosch. Even though he is a maverick, he has gained acceptance in the
established art scene. RM

Witkin,
Joel Peter

1939 New York

Lives in Albuquerque.

New Mexico

Witkin I 743

Wolf, Reinhart

1930 Berlin
1988 Hamburg

Until 1954 Reinhart Wolf studied psychology, literature and art history
in the USA, Paris, and in Hamburg. He was already interested in photo-
graphy in his youth, and this interest matured into his decision to make
his hobby his profession. He began his study of photography at the Ba-
varian State Institute of Photography in Munich, completing it in 1956.
Wolf settled in Hamburg and set up a studio. In 1969 he started moving
into the "studio-house" which he designed, adding a studio for advert-
ising films to this studio for advertising photography. In addition to his
professional work, he pursued topics of personal interest, with which he
caused a sensation even among the broader public. His first success
was a publication of his picture series of American buildings. Conceived
quite differently from conventional New York-style photography, he used
an 18 x 24 cm camera to take pictures of facades of buildings, mostly by
taking elevators to the top floors of skyscrapers. In 1977 he traveled to
Georgia and in 1979 to New York in order to create his series Faces of
Buildings. This large-format book, for which he received many awards,
set the standard for a different type of architectural photography. Shortly
afterwards Stern magazine asked him to take pictures of castles in
Spain. During his two trips in 1981 and 1982 he created his picture

-« Reinhart Wolf
Vienna. Hofburg.
1983

Color print
19.5 x 24.5 cm
ML/F 84/126

Gruber Donation

744 I Wolf

series Castles of Spain. Wolf's independent projects became more and
more central to his work and philosophy. Most important in this con-
text is the fact that his professional photography became increasingly
affected by his freelance work, so much so that the boundaries became
blurred. This was evident especially in his food photography, which cul-
minated in 1987 in the publication Japan - Culture of Eating and which
exhibited a quality of high artistic standards. By taking pictures of Japan-
ese cuisine, mostly on his small hotel night table, he broke all the rules
of commercial food photography and created images that embodied
Japanese sensibilities to a very high degree while expressing them in the
medium of photography. RM

A Reinhart Wolf
Washing and
Changing Hall for
Miners, Stadthagen.
1978

Color print
77.2x23.2 cm
ML/F 1984/129

Gruber Donation

Wolf I 745

Wolff, Paul

1887 Mulhouse,
upper Alsace
1951 Frankfurt on
Main

▼ Paul Wolff
New York, Fifth
Avenue West, 1932

Gelatin silver print
23.2 x 17 cm
ML/F 1984/131

Gruber Donation

Paul Wolff started out by studying medicine, planning to become a doc-
tor. In 1920, while exercising his profession, he came into contact with
photography, and in 1926 was fortunate enough to win a Leica at a pho-
tographic exhibition in Frankfurt. Wolff became a pacesetter for 35 mm
photography in the realms of professional photography and photojourn-
alism. He illustrated numerous books and wrote theoretical discourses
on the use of the 35 mm format. In doing so, he helped to make this
format popular for serious applications. In 1930 photography became
his second profession. He taught many students how best to use a
Leica, gave instructions on new perspectives and viewing angles, and in
1934 published his experiences in a book entitled My Experiences with the
Leica, which he dedicated to Oskar Barnack, the inventor of the Leica. In
1948 he published another book on taking pictures with a Leica, and this
time his topic was color photography. Wolff, who never specialized in a
topic or concept, but who took pictures of everything he found interest-
ing and suitable, was mainly a
theoretician, technician, and im-
age designer of photohistorical
importance. In this regard he
greatly affected amateur photo-
graphy in the fifties and thus cer-
tainly contributed to the excep-
tionally high level of photographic
technology in Germany. RM

*• Paul Wolff
Steel Cable
Manufacture,
around 1936

Gelatin silver print
23.7 x ij.&cm
ML/F 1984/130

Gruber Donation

746 I Wolff

Wolff I 747

< Wols

Cassis, 1940-1941

Celatin silver print
15.4 x 15.4 cm
ML/F 1979/148

Gruber Donation

Wols

(Alfred Otto
Wolfgang Schulze)

1913 Berlin
1951 Paris

Alfred Otto Wolfgang Schulze, alias Wols, worked as a photographer for
16 years. During the last ten years of his life he devoted himself mainly
to drawing and painting. After his death his work as a painter became
known, famous and celebrated, but no one was interested in his pho-
tographs. Only with the generally growing interest in the medium of
photography did Wols' photography begin to attract attention.

This unexpected success came in 1937 with a request for the fashion
pavilion at the World Fair. This is when the young photographer received
his pseudonym Wols. This name, as his wife Grety recalls, was "the
product of an accident". The then director of the House of Lanvin sent a
telegram to Wolfgang Schulze asking him to come to his office. During
the transmission the name was mutilated into "Wols", but Schulze con-
sidered it a good solution. The photographs shown at the "Pavilion of
Elegance" were promptly published under the name "Wols".

By far the greatest part of Wols' photographs consists of portraits.

748 1 Wols

He always took a series of pictures, photographing people in many
different poses. Occasionally he would make up to two dozen expos-
ures of the same person; of Nicole Bauban he even took more than 40
pictures.

As a photographer, Wols did not develop any new techniques or
theories. Neither was he interested in daring perspectives, special cam-
era settings, or details. He was no virtuoso with the camera, and did
not want to create a new vision. It was always his way of seeing and his
world that he portrayed, a world that was lonely and cold. When he
photographed Paris, his pictures showed empty streets, sleeping
tramps, steep stairs, and always grids. Many of the people whose por-
traits he took had their eyes closed. Sometimes Wols took pictures of
only part of a person - an arm, a hand, a foot. His strange affection for
fragmentation and for the inorganic becomes ever more obvious upon

► Wols
Cutter, Paris,
around 1937

Gelatin silver print
15.9x75.4 cm
ML/F 1979/1147

Gruber Donation

Wols I 749

closer study of his photographs. Most amazing are his still-life pictures,
his pictures of objects: strange, bizarre compositions peaked to psychic
obsession with images of a broken doll in the gutter or of dead, skinned
birds. The elements of an apparent reality become psychograms of a
soul. He never misused, adulterated, or manipulated the medium of
photography.

Ewald Rathke wrote as follows about Wols" photographs: "Wols in-
creasingly arranged objects that did not match and that did not belong
together, placing them in a contradictory environment. The realities of
his compilations lost their individuality and they simultaneously com-
bined into a new entity. The sense of the familiar was eliminated and
recognition impeded. The substance of the external form was removed,
the spatial relationship rearranged, the field of view narrowed. But, para-
doxically, that is precisely what enhances the physical presence of the
object in the picture." In one of his many aphorisms, Wols himself con-
firmed the fact that chance always played an important role for him:

< Wols

Section of Road,
around 1937

Gelatin silver print
T 9-9* 15.4 cm
ML/F 1977/1153

Cruber Donation

► Wols

Picture of a Man
with a Bowler Hat,
around 1936

Gelatin silver print
16.5x15.4 cm
ML/F 1979/1150

Cruber Donation

"Chance is a great master because it is actually not an accident. Chance
exists only in our eyes. It is an assistant to the Master's 'Universe'." CC

Wols 1 751

Zelma, Ceorgii

1906 Tashkent,
Uzbekistan
1984 Moscow

A Ceorgii Zelma
Military Exercise.
Tanks and Airplanes,
around 1920-1924

Gelatin silver print
28 x 42 cm
ML/F 1992/106

Ludwig Collection

► Ceorgii Zelma
Covered Street in
Asia with Man and
Small Child, 1926

Celotin silver print
mjx 8.7 cm
ML/F 1992/109

Ludwig Collection

In 1921 Georgii Zelma joined the camera club of his school. At that time
he took pictures with a Kodak 9 x 12 cm box camera. During subsequent
years he worked at the "Proletkino" motion-picture studio and with the
"Russfoto" agency, which forwarded his documentary photographs to
the foreign press. In 1924 Zelma returned to Tashkent as the "Russfoto"
correspondent for Uzbekistan and Central Asia.

He published many of his pictures in Prawda Wostoka (Truth of the
East). In the thirties he was on the staff of SSSR na stroike (USSR under
Construction) magazine, producing major reports such as The USSR
Viewed From the Sky and Ten Years of Soviet Republic injakutia. During
World War II Zelma was a combat reporter for Izvestiya in Odessa and
Stalingrad among other places. After the war he worked for the maga-
zine Ogonjok and for the "Nowosti" press agency.

Many of Zelma's works show the influence of the Russian photo-
graphic avant-garde. Thematically, his work covers a spectrum ranging
from military exercises, demonstrations, factory and farm workers, all
the way to ethnological subjects. MBT

752 I Zelma

Zelma I 753

Zeun, Renate

1946 Radebeul
Lives in Berlin

A Renate Zeun
Hand on Body, from:
Afflicted, Images of
My Cancer, 1983

Gelatin silver print
17.Sx23.8cm
ML/F 1991/147

After finishing high school, Renate Zeun trained to become a beauti-
cian, going on to study photography from 1978 to 1979 by taking a cor-
respondence course at the renowned College of Graphic Design and
Book Art in Leipzig. In 1988 she became a member of the Association
of Creative Artists. In 1986 she published the book Afflicted, Images of
My Cancer, in which she addresses the subject of breast cancer.
These photographs are as effective in the form of a sequence as they
are as individual pictures. They offer the viewer an opportunity for
reflection and empathy in the often taboo area of disease, suffering,
fear, and death. In 1987 she created the sequence Mrs. Anneliese St. -
Clinic for Oncology, Berlin, about which she said: "I hope that these
photographs encourage reflection and discussion, and that it might be
a step on the way for those who are healthy to be able to meet those
who are sick in an understanding and uninhibited manner." AS

754 I Zeun

► Willi Otto Zielke
Stack of Class
Plates 1, 1929

Gelatin silver print
23.5x17-6 cm
ML/F 1988/21 I

In 1921, following his studies of railroad technology in Tashkent, Willy
Otto Zielke and his family moved to Munich. There he attended the
Bavarian State Educational Institute of Photography. Beginning in 1928
he was a teacher who influenced the evolution of numerous photo-
graphers, including Hubs Fldter, Kurt Julius, and Erwin von Dessauer. In
those years he also began to create motion pictures, achieving such a
great success with his first film "Unemployed" that he was motivated to
make another motion picture called "The Steel Animal" on the occasion
of the 100th anniversary of the Nuremberg-Furth railway. In addition to
his motion-picture work, Zielke also became known for his photography
of objects, his brilliant technique, and his unconventional perspectives.
He was experimenting with color photography as early as 1933. In the
fifties he was Chargesheimer's predecessor at the BIKLA School in Dus-
seldorf. RM

Zielke,
Willy Otto

1902 Lodz, Poland
1989 Bad Pyrmont

Zielke I 755

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< Ceorgii Zimin
Still Life with Comb
and Scissors,
1928-1930

Gelatin silver print
23.J x 29.5 cm
ML/F 1992/104

Ludwig Collection

Zimin, Ceorgii

1900 Moscow
1985 Moscow

► Georgii Zimin
Still Life with Light
Bulb. 1928-1930

Gelatin silver print
24 x 18 cm
ML/F 1992/102

Ludwig Collection

Between 1914 and 1917 Ceorgii Zimin attended the Stroganov School
of Arts for Industry in Moscow. Between 1918 and 1920 he studied at
SWOMAS and from 1921 at WCHUTEMAS, the center of suprematist
and constructivist art in revolutionary Russia. El Lissitzky, who was also
teaching there at that time, was creating his first photograms. During
this time Zimin designed decorations for agitprop events celebrating
May Day in Moscow, and he cultivated contacts with the group "Art of
Motion" at the Academy of Sciences in Moscow. In the late twenties he
tried his hand at experimental photography by creating his own pho-
tograms. His work is characterized by great simplicity and clarity while
using few pictorial elements. His still-life pictures abstain from any nar-
rative content and, with their simple arrangement, they not only re-
semble the photograms of El Lissitzky but also the first experiments of
Henry Fox Talbot. RM

756 I Zimin

Zimin | 757

Zidlicky,
Vladimir

1945 Hodonin
Lives in Brno

▼ Vladimir Zidlicky
Dramatic Figure.
1985

Gelatin silver print
45.5 x 40.5 cm
ML/F 1990/1283

Vladimir Zidlicky studied photography under Prof. Jan Smok and Prof.
Jaroslav Rajzik at the Prague Faculty of Film. Between 1977 and 1988 he
worked at Hodonin's art gallery, where he organized numerous photo-
graphic exhibitions and initiated a collection of photography. Between
1977 and 1982 he was the head of the Photography Department at the
School of Applied Arts in Brno and in 1982 became the director of that
school. Zidlicky's work represents a new beginning for Czech photo-
graphy. It is closer to painting and drawing than to photography. He be-
gan manipulating the technical process of producing a print, devising a
technique of light-drawing that he blended with the photographic im-
age. Thus his photographic work stands between photographic ima-
ging and experimental, abstract photography. With his light-drawings,
Zidlicky creates cosmic spaces into which he places human bodies.
Some of his compositions move so weightlessly in the image plane that
they are reminiscent of baroque figures in church cupolas. His nudes
appear to float in an abstract space, integrated in a network of lines and
areas with which he composes the structures of his pictures. Frequently,

these lines and structures are the
result of light effects, while many
others suggest rather destruction,
leading one to suppose some vi-
olent treatment of the negative,
which also affects the integrity of
the nude figures. In many of his
photographs the latter only play a
subordinate role, incorporating
themselves in the abstract draw-
ings and becoming dark silhou-
ettes. Zidlicky has developed an
expressive blend of light-drawing
and nude photography. He is con-
sidered to be one of the leading
Czech artists of the middle gen-
eration. RM

758 I Zidlicky

► PietZwart

Cable Machines,

'933

Gelatin silver print

25.2 x 1&5 cm

ML/F1979/1663/VII

Piet Zwart initially became known as a typographer and designer of in-
terior spaces and craft objects. In 1924, encouraged by the construct-
ivist El Lissitzky, Zwart for the first time integrated a photogram into
advertising that he was designing for the "Dutch Cable Factory" in Delft.
A few years later, when he received a request from the same company to
handle the typographic design for a catalog of cable products, he recog-
nized that photography, because of its capability for exact reproduction
of materials and structures, was predestined for this task. The catalog,
which was published in 1928, was an enormous success, meeting with
acclaim beyond the borders of the Netherlands. His precise pictures, as
well as his Utopian ideas of the possibilities of technology, set the stand-
ards for the Dutch photographic avant-garde during the years that fol-
lowed. MBT

Zwart, Piet

i885Zaandijk, near
Amsterdam
1977 Leidschendam,
near The Hague

Zwart I 759

Unless otherwise specified, copyright on the works reproduced lies with the respective photographers.
Despite intensive research it has not always been possible to establish copyright ownership. Where this is
the case we would appreciate notification.

Adams: © The Ansel Adams Publishing Rights Trust. Mill Valley | Arnold: © Magnum/Focus | Avedon: © Richard Avedon
Incorporated, New York | Bayer: © Joella Bayer, Montecito | Beaton: © Cecil Beaton photographs courtesy of Sotheby's
London | Berry: © Magnum/Focus | Bing: © Use Bing-Wolff. c/o Lissner & Lissner, New York, Courtesy Houk Friedman
Gallery, New York | Bischof: © Bischof Estate, Zurich | Blossfeldt: © VG Bild-Kunst, Bonn, 1996/Archive Ann und Jurgen
Wilde. Cologne | Boje: © NachlaS Walter Boje, c/o Museum fur Kunst und Gewerbe, Hamburg | Bourke-White: © Time-Life
Syndication, New York | Brake: © Magnum/Focus | Brassai © The Estate of BrassaT, Paris | Bratrstvo: © Roman Musellk,
Brno I Burri: © Magnum/Focus | Capa, Robert and Cornell: © Magnum/Focus | Cartier-Bresson: © Magnum/Focus |
Claasen: © VG Bild-Kunst, Bonn, 1996 | Clausen: © Rosemarie Clausen-Ktinstlerischer NachlalsGbR, Hamburg | Davidson:
© Magnum/Focus | Dessauer: © Edit von Dessauer, Petropolis | Doisneau: © The Estate of Robert Doisneau/ Rapho,
agence de presse photographique, Paris | Drtikol: © Ervina Bokova-Drtikolova, Podebrady | Edgerton; © The Harold E.
Edgerton 1992 Trust, courtesy of Palm Press Inc., Concord | Eisenstaedt: © Time-Life Syndication, New York | Elsken: © The
Netherlands Fotoarchief ufa, Rotterdam | Engelskirchen: © Helene Engelskirchen, Krefeld | Erfurth: © Marianne Erfurth,
Gaienhofen | Ernst: © VG Bild-Kunst, Bonn, 1996 | Evans: © Walker Evans Archive, The Metropolitan Museum of Art, New
York I Feininger: © Time-Life Syndication, New York | Finkelstein: © Fritz Bohme, Gaierie eye gen art, Cologne | Flach:
© Charlotte GroBimlingshaus. Asbach | Frick: © VG Bild-Kunst, Bonn, 1996 |-Haas: © Magnum/Focus | Hajek-Halke:
© Michael Ruetz, Rimsting | Halsman: © Magnum/Focus | Hamaya: © Hiroshi Hamaya, Kanagawa-ken | Helnwein:
© Gottfried Helnwein, Burgbrohl | Henle: © Maria Henle, Christiansted, St. Croix | Henri: © VG Bild-Kunst, Bonn, 1996 |
Hilsdorf: © Franz Toth, Bingen | Hockney: © David Hockney, Los Angeles | Horst: © R. J. Horst for Horst P. Horst, New York
I Hoyningen-Huene: © R. J. Horst for Horst P. Horst, New York | Hubmann: © Bildarchiv PreuSischer Kulturbesitz.
Berlin | Huebler: © Douglas Huebler, Truro | Julius: © Anneliese Julius, Kirchheim | Kertesz: © Ministere de la Culture
(AFDPP), Paris | Kempe: © Erika Kempe, Hamburg | Kimura: © Naoko Kimura, Tokyo | Krull: © Germaine-Krull-Stiftung,
Braunfels | Krzyzanowski: © Michel Szulc Krzyzanowski, Amsterdam | Kiihn: © Kuhn-NachlaS. Birgitz | Lange: © Dorothea
Lange Collection, Oakland Museum, Oakland | Lartigue: © Association des Amis de Jacques-Henri Lartigue. Paris | Lissitzky:
© VG Bild-Kunst, Bonn, 1996 | List: © Max Scheler, Hamburg | Lohse: © Bildarchiv PreufSischer Kulturbesitz. Berlin | Lynes:
© Courtesy Estate of George Piatt Lynes, Linda Hyman Fine Arts, New York | Mantz: © Grete Mantz-Schmidt. Maastricht |
Mapplethorpe: © The Estate of Robert Mapplethorpe, Lipsky & Stout, New York | Matta Clark: © Courtesy Holly Solomon
Gallery, New York | Maywald: © 1996 VG-Bild-Kunst, Bonn | McBean: © Angus McBean Estate, Debenham. Suffolk |
Moholy, Lucia: © Dr. Friedrich Karsten. London | Moholy-Nagy: © Hattula Moholy-Nagy, Ann Arbor, Michigan | Morath:
© Inge Morath/Magnum | Munkacsi: © Joan Munkasci, Woodstock | Nauman: © VG Bild-Kunst, Bonn, 1996 | Newhall:
© Beaumont Newhall, Beaumont and Nancy Newhall Estate, courtesy of Scheinbaum & Russek Ltd., Santa Fe, New Mexico |
Newman: © All Photographs copyrighted by Arnold Newman | Newton: © Courtesy Gaierie Kicken, Cologne | Nothhelfer
© Gabriele and Helmut Nothhelfer. Berlin | Pabel: © Bildarchiv Preufiischer Kulturbesitz, Berlin | Parkinson: © Jake
Parkinson, c/o Hamiltons Gallery. London | Penn: © Courtesy Vogue. The Conde Nast Publications Inc., New York | Man Ray:
© 1996 The Man RayTrust/VG Bild-Kunst, Bonn | Relang: © Regina Relang Archiv, Fotomuseum im Munchner Stadt-
museum | Renger-Patzsch: © VG Bild-Kunst, Bonn, I9g6/Archive Ann und Jurgen Wilde, Cologne | Riboud: © Marc Riboud,
Paris I Rohde: © VG Bild-Kunst. Bonn, 1996 | Rosenbach: © Ulrike Rosenbach, Homburg and Hildegard Weber. Cologne |
Salomon: © Peter Hunter, The Hague | Sander: © VG Bild-Kunst, Bonn, 1996/August Sander Archiv/SK-Stiftung Kultur |
Sawada: © Sata Sawada. Aomori | Schad: © G. A. Richter, Rottach-Egern | Schrammen: © Klaus Schrammen. Bad Schwariau |
Seidenstiicker: © Ulrich Wolff, Bielefeld | Seuphor: © Michel Seuphor, Paris | Seymour: © David Seymour Estate,
Washington | Simonds: © Charles Simonds, New York | Smith: © Magnum/Focus | Springs: © Courtesy Gaierie Kicken,
Cologne I Stano: © Nox Contemporary Photography, Prague | Steichen: © The Estate of Edward Steichen, The Museum of
Modern Art. Reprinted with permission of Joanna T. Steichen | Steinert: © Marlis Steinert-Dalmer, Thonex | Stenvert: ©
Antonia Stenvert-Mittrowsky, Cologne | Stiegl'rtz: © Georgia O'Keeffe Foundation | Stock: © Magnum/Focus | Strand: © Paul
Strand Archive, Aperture Foundation, Millerton | Strelow: © VG Bild-Kunst, Bonn. 1996 | Striiwe: © Gottfried Jager, Bielefeld |
Sudek: © Anna Farova, Prague | Umbo: © Gaierie Kicken, Cologne | Warhol: © The Andy Warhol Foundation for the Visual
Arts/VG Bild-Kunst, Bonn, 1996 | Weegee: © 1994 International Center of Photography. New York, Bequest of Wilma Wilcox |
Weston: © 1981 Center for Creative Photography, Arizona Board of Regents | Wilp: © Bildarchiv PreuSischer Kulturbesitz,
Berlin | Windheim: © Dorothee von Windheim, Cologne | Winquist © Estate Rolf Winquist | Wolf: © Photographische Stif-
tung Reinhard Wolf, Munich | Wols: © VG Bild-Kunst, Bonn, 1996 | Zwart: © VG Bild-Kunst, Bonn, 1996.

760 I Copyrights

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The photographic collection of the Museum Ludwig, Cologne, is one

of the most important collections of contemporary photography

in the world. This book provides a fascinating insight into its rich

diversity: conceptual art, abstraction, reportage - 860 works by

around 300 of the 20th century's most famous international

photographers, from Ansel Adams to Piet Zwart.

"Sound, high-quality, inexpensive..."

Frankfurter Allgemeine Magazin, Frankfurt/ Main

www.taschen .com

ISBN 3-8228-5867-6

783822"858677